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FRICE IS CENTft^ 




DE WITT'S ACTING PLAYS. 



(Number 184.) 




MONEY. 

A COMEDY, 

IIsT FIVE A.CTS. 

BY LORD LYTTON, 

(SIR EDWAKD LTTXON BtJLWEB.) 

From the Original Text as first produced attheTheatreBo^^^ 

Haymarket, London, December 8, 1840, and at the 

Old Park Theatre, New York, Feb. 1, 1841. 

AN ENTIRELY NEW ACTING EDITION. 

With additional Stage Directions, accurately marked-Full Cast of 
Characters-Synopsis of Scenery-Costumes-Bill for Pro- 
grammes-Story of the Play, and Remarks. 

EDITED BY 

JOHX M. KINGDOM, 

Author of '^Marcoretli," •' The Fountain of Beauty," ^< A LifeYengeance- 
" Tancred- " The High Road of Ufe- " Which is My Husbandf 
«« The Old Fen-y .House," " Madeline," " Wreck of the 
Golden Mary," " The Three Musketeers," etc., etc. 



ROBERT M. DE WITT, PUBLISHER, 
No, 33 Rose Street. 





\ 



QUEEN MARY. A Play. In Five Acts. By Alfred Tennyson. 
^^ J (Double Number). Price 30 Cents. 

U>r. I RICHEI.IEU. A Play. In Five Acts. By Lord Lytton (Sir Edward 
I Lytton Bulwer.) Price 15 cents. 



J 

DE WITT'S HALF-DIME MUSIC 

OF THE BEST SONGS FOE VOICE AND PIANO. 




^HIS 8E(FlIES of Jirst class Songs contains th 
Words and Music {with the Piano auompaniment 
of the most choice and exquisite Pieces, by the mosl 
able, gifted and most popular composers. It contains 
every style of good Music^from the solemn and 
pathetic to the light and humorous. In brief thL 
collection is a complete Musical! Library in itself both of Vocai 
AND Piano-Forte Music. It is printed from new, clear ^ distinct^ \ 
elegant Music Type, on fine white paper, made expressly for \ 
this Series, and is published at the low price fFivE Cents. ( | 
Remember, Each Number contains a Complete Piece of 
Music, beautifully printed on Sheet Music Paper. 

Any Twenty Pieces mailed on receipt of One Dollar, postage paid. 
ly PLEASE OR DEM SV THE NUMBERS. "=©& 

Address, R. M. DE WITT, Publisher, 

SS Itose Street, JV. Y. 

SENTIMENTAL SONGS AND BALLADS. 



A'o. Composer. 

3. Lover's Letter-Box Wrighton. 

S. Thy Voice is niear Wrighton. 

C Blue-Eyed Violets Jackson. 

S. The niaiden and Her Linnet. 

Montgomery. 

«4. Soft I>ew is Sleeping^ Barker. 

tC When the Roses Blow Allen. 

SO. Beautiful Bells Coote. 

31. The Mother's Oream Sullivan. 

23. My Spirit Star Young. 

as. Little Maggie May Blampliin. 

Se. Xhe "Vagabond MoUoy. 

31. My Heart is O'er the Sea. .Claribel. 

33. Maggie's Welcome Claribel. 

3S. Dreaming of I^Jellie Hogett. 

3^. Five O'ClocU in the Morning, 

Claribel. 
39. She Camn anil Vanished Like a 

Oream Boucher. 

41. Meet Me in the Lane Blamphin. 

43. Tapping at the Carden Gate. 

4S. Sleeping on Guard.... Wrighion. 

47. Summer I>ew Barker. 

49. Oh, My Lost Love Plumpton. 



No. 


Composer. 


51 


Far A.v%°ay . Bliss 


55. 


Jess Maefarlane Tucker. 


57. 


Yes, I'll Meet Thee. Dearest. 




Blamphin. 


59. 


Hattie Bell . Webster 


«S1. 


Whisper " Ves," or " WIo," Love. 




" Adele." 


63. 


Her Bright Smile Haunts Me 




Still Wrighton. 


C3. 


Oh. Cast that Shadow from Thy 




Brow Tucker. 


64. 


Love l^ot Blockley. 


65. 


She Wore a Wreath of Roses. 




Knight. 


70. 


Pretty Little Dark JEyes. . . . Parker. 


73. 


When we went a Gleaning. 



74. 
75. 

76. 
78. 
79. 



Oanz. 

Mary of Argyle Nelson. 

What Did Little Birdie Say? 

Ba' 

Sing, Birdie, Sing Oa 

Spring-Time of Life .Jacks \ 

IWightingale's Trial .Qn^ 



MONEY 



m FIVE ACTS. 



BY LORD :|;.TTTOK', 

(sir EDWARD LYTTON BULWER.) 



FROM THE ORIGINAL TEXT AS FIRST PRODUCED AT THE THEATRE 

ROYAL, HAYMARKET, LONDON, DEC. 8, 1840, AND AT THE OLD 

PARK THEATRE, NEW YORK, FEB. 1, 1841. 



AN ENTIRELY NEW ACTING EDITION. 



WITH ADDITIONAL STAGE DIRECTIONS, ACCURATELY MARKED — FULL CAST 

OF CHARACTERS — SYNOPSIS OF SCENERY — COSTUMES — 

BILL FOR PROGRAMMES — STORY OF THE 

PLAY AND REMARKS. 



JOHN M. KINGDOM, 

AulJiorof *'Marco7-eUi,"^'The Fountain of Beauty," "A Life's Vengeance,*' '^Tancred," 

"The High Road of Life," " Which is My Husband f" ''The Old Ferry 

House" "Madeline," " Wi-eck of the Golden Mary," 

** The Three Musketeers," etc., etc. 



am &- 



NEW YORK: 
ROBERT M. DE WITT, PUBLISHER, 

No. 83 Rose Street. 

(BETWEKN DtTANR A.ND FRANKFORT STREETS.) 

Entered according to Act of Congress, in the year 1874, by Robert M. De Witt, ia 
theoffioe of the Librarian of Congress, at Washington, D. C. 



29/£. 



2 MONEY. ^V- Vs?/A 

ORIGINAL CAST OF CHARACTEU8. 

Theatre Royal, Old Park Theatric 
Haymarket , New York, 

i>ec. 8, 1840. 1^66.1,1841. 

Alfred Evelyn Mr. Macready. Mr. Hield. 

Sir John Vesey Mr. Stxiickland. Mr. Chippendale. 

Lord Glossmore.. Mr. F. Vininq. Mr. G. W. Clakke. 

Sir Frederick Blount Mr. Walter Lacy Mr. A. ANDERSorf, 

Benjamin Stout Mr. D. Reece. Mr. Gunn. 

Graves Mr. B. Webster, Mr. Fisheij. 

Captain Dudley Smooth Mr. Wrench. Mr. Nickerson. 

Sharp Mr. Waldron. Mr. Bedford. 

Old Member Mr. Wilmott. 

Toke Mr. Oxberry. 

MacFinch..... Mr. QoUGH. 

Crimson (a Portrait Painter) Mr. Gallot. 

MacStucco Mr. Matthews. 

Patent (a Coachmaker) Mr. Clarke. 

Frantz (a Tailor) Mr. O. Smith. 

Tabouret (an Upholsterer) Mr. Howe. 

Grab (a Publisher) Mr, Caulfield. 

Clara Douglas Miss H. Faucit. Mrs. Maedea. 

Lady Franklin Mrs. Glover. Mrs. Vkrxon. 

Georgina Miss P. Horton. Mrs. Chippendai.e. 

Oflacer, Club Members, Flat, Green, Waiters at Club, Pages, Servants. 



TIME IN REPRESENTATION— THREE HOURS AND A HALF. 



SCENERY. 
ACT I.— Scene L— A Drawing-room in Sir John Vesey's house. 



. . . .Drawing-room beyond .... 

4th grooves. | Folding doors, | 4th grooves. 

Chair.* * Chair. 



,,3,._Cbair..O ?"'"; Chair.. 



E. 2 E.- 



Chair.* 
Table, 
Chair.* 

Chair.* 



L. 3 E. 

Chair.* 

O 

Table. * Chair. 

E. 2 E. 



Chair.* 



Writins 
Table,^ 



B. 1 E.- 



-L. 1 E, 



A handsomely furnished, carpeted apartment. Folding doors open, showing anothei 
handsome room beyond. R. h., handsome table, upon which are newspapers, books 
etc. L. h., another table, smaller, and near there a secretary writing-table, with \^ 
dozen chairs placed in the positions indicated. 



MONEY. 



ACT 11 —Scene 1.— An Ante-room in Evkltn's house. Small table ii» H. "Writ- 
ing-desk and materials l. h. Cliairs it. h and u h. Door l. c. f. 

Scene 2. —Drawing-room in Siu John Vesey's house, as before. Portfolio and 
drawings upon the side table. 

ACl' m.—Sctnt 1.— Drawing'room in Sir Johk Vssei's house, as before. The 
scene so arranged as to allow the next scene to close in. 

Scent 2.— Boudoir in Sik JoBn Vesey's house. The flats in the second groove rep- 
resent a handsome apartment. Two chairs are brought on by the Page. 

Scene 3.— Grand saloon at Evelyn's club house. 



4th grooves. | Entrance. | - — 4th grooves. 

Member reading book. Four members standing. 

B. 8 E.— * O * WaH^EBS. O — ^ 3 E. 

« Table. * 


B. 2 E. 

Member, seated.* 
SMooTn.*0* 


Newspapers, books, 
pens, ink, etc. 

Pack ot cards, and 
cup of coffee. 


* * 

U 2 E. 

* Stout, with newspaper. 
Old member, 


Table with lemonade on. 

. 1 E. 


GLOSb 


/'A * with Times, 
MORS. \_/ 

Table. l. 1 E. 



' An elegantly furnished saloon With tables and chairs, and the other articles placed 
as shown in the diagram. 
ACT 1 v.— Scene 1.— An anle-roora in Evelyn's, as before. 
Scene 2.— A splendid saloon in Evklyn's mansion. 



Diniiig-Room. 

* * * * 



Chairs. : 



Table. t Chairs. 

; * 

4th groovea | Folding Doors. | 



Ith grooves,' 



B. 3e 



* Chairs. * 

O 

Chair.* Table. 



♦ Chairs. * 

o- 

Table. 



-l. 8 



B. 2 K. 



Chairs. 



•L. 2 E. 



E. 1 E. 



Chairs. 



-L. 1 



A magnificently furnished saloon, with J^aintings, etc. Two tables, r. h. and l. h., 
with candelabra. Chairs placed in ,tS^ positions indicated. Folding doors c. f. 
Beyond them the interior of the dining-room, with chairs arranged for the guests- 
table spread tor dinner. Candelebra, etc. 

ACT v.— Scene 1.— Room at Evelyn's club house. Hnndsomelv furnished. 
Tables R. h. and l. h. Cloth and breakfast pieces on the table l. h. Doors c. F. 
Two chairs at each table. Papers, etc., on table k. h. 

Scene 2.— Drawing-room in Sir John Vesey's house, as before. 

/Scene 3.— Saloon in Evelyn's mansion, as before. 



4 MOS-EY. 

COSTUMES. 

So far as the costumes of this play are concerned, there is nothing so Very partic- 
ular in the text, as in the previous plays, to rij^idly compel an adherence to the one 
style of the one particular period. 

At the time the play was produced there was a very peculiar style of fashion pre- 
vailing in London. The Count 1) Orsay was the leader, the model in fact. He was 
at that time considered one of the most elegant and accomplished gentlemen ; in- 
deed, he might be termed the " Beau Bruramell *' of the period. It was the " D'Or- 
say hat," the " D'Orsay coat," the "D'Orsay vest," and " D'Orsay boots ;*'-in fact, 
everything in a fashionable West-end store bore the title. 

As this play was originally played, the above style of costume was adopted; but 
there is no actual necessity for it, and the costumes now given are expressly com- 
piled for this edition of the work— observing a medium course between the past and 
present ; but they may be altered, according to the manager's views, to the leading 
fashions prevailing at the time when the play is produced. 

Alfked Evelyn. — \st Dress: Frock coat and vest, black; dark trousers; black 
necktie ; boots. 2d Dress : Dark-blue frock coat ; fancy mixture trousers and 
vest ; patent-leather boots; neck scarf; riding gloves and hat. In Act IV., a, 
handsome dressing-gown, silk-lined, etc. : and then in Scene 2, black dress-coat, 
white vest, black trousers, plain black necktie, patent-leather boots. Act V,: 
The same, or a similar dress, to the cne secondly described. 
Sib John Vesey.— Black dress-coat and trousers, white vest and cravat, pair of 

gold-mounted eyeglasses, with black silk ribbon ; hair white. 
Lord Glossmore.— Black frock coat and trousers, fancy vest, patent-leather boots, 

scarf, and kid gloves. In Act IF., usual dress for a fashionable dinner-party. 
Sir Fkederick Blount — In the \st Act, a plain black suit — handsome garments of 
any color, but made in the highest fashion and of the very best quality — rich 
silk handkerchiefs, and very fine light-colored overcoat, etc.* 
Stout.— Blue cloth coat with broad tails : velvet vest, white cravat, and stand-up 
collar ; Oxford gray trousers, cloth boots, large red handkerchief, white hat 
with black band, afterwards removed. 
Graves. — Body coat, vest, trousers, and gloves all black. la Act III., a colored 

silk handkerchief. 
Captain Dudley Smooth. — \st Dress : Dark fashionable morning or lounging coat, 
vest, and trousers, 2d Dress : Frpck coat and fancy colored vest and trousers, 
patent-leather boots. 3d Dress ; Usual dress for a I'asionable dinner-party. 
Sharp.— Plain black body coat, vest, and trousers ; white cravat, shoes. 
Old Membeh.- Blue colored body coat with gilt buttons, fancy colored vest, nan- 
keen trousers, shoes and cloth gaiters, white scarf, and high collar. 
Clara Douglas. — 1st Dress: Plain black walking dress with sleeves, and the hair 
plain. 2d Dress: Fancy muslin dress, ornamented, but not too much, accom- 
panied by rich gold bracelets, etc. 3d Dress : A rich dark velvet walking cos- 
tume, and handsome ornaments. 
Lady Fuanklin. — A very rich and gay colored silk dress, with lace shawl, etc. In 
Act IV., handsome evening dress, the sleeves being short. In Act V., a hand- 
some morning costume, bonnet and lace shawl. 
Geobgina.— White muslm dress trimmed fancifully with black ribbons, jet orna- 
ments on the breast and the wrists of the long sleeves ; neck-chain of jet. In 
Act II , similar di-ess varied by fancy ribbons and gold ornaments. In Act IV., 
change for dress for a fashionable dinner-party. In Act V., silk dress, fashion- 
ably cut blue mantle and trimmings ; hat and feather. 
Sebvants.— Those belonging to Sir John Vesey and Alfred Evelyn : Plain black 
body coat, vest, and knee-breeches, white stockings and shoes. Those at the 
Club House : Puce colored body coats, with large brass buttons, velvet plush 
vests and knee-breeches, white neckties and stockings, shoes, and hair powdered 



* All actors whom I have seen play this part made it the medium for the display 
of the richest and most fashionable clothing. 






PROPERTIES. 

ACT I., Scene 1. — Two rich tables and covers; newspapers, books ; twelve chairs ; 
carpet; a secretaire writing table; writing materials; blaek-edged letter; 
watch; purse ; banknote ; wine; decanters; glasses; cake ; will ; letter; 

ACT II., Scene 1.— Three drawings ; bundle with new coat ; writing desk and ma- 
terials ; table ; chairs : book and parchment ; piece of gold coin ; letter. Scene 
2.— As in Act I., with the addition of portfolio, drawings ; a portrait ; letter, as 
in last. 

ACT 111., <Scene 1.— Same furniture, etc., as in Act I., Scene 1, except there need 
not be so many chairs ; writing materials ; letter. Scene 2. — Two chairs. Scene 
3. — Five tables; twelve chairs; newspapers; books; writing materials; play- 
ing cards ; coffee cups ; large round pnuft-box ; two salvers ; glasses ; letter ; 
note ; pocket-book ; wax lights in candelabras on the tables ; lemonade and 
glasses. 

ACT IV., Scene 1. — Two tables ; two chairs ; writing materials ; pocket-book ; 
checks. Scene 2. — Two tables with candelabra, etc. ; nine chairs ; painting ; 
letter ; paper for Sherifi's officer ; table in dining-room at back ; chairs round 
it ; dinner service spread ; candelabi-a and lights, 

AC2' v.. Scene 1. — Two tables; four cliairs ; table cloth and breakfast things; 
glasses and wine ; letter ; bill ; salver ; large and shall watches. Scene 2. — 
Bell pull and bell without, Scene 3. — Same as Act IV., Scene 2. Letter, salver, 
writing materials on table. 



EXPLANATION OF THE STAGE DIRECTIONS. 
The Actor is sifpirased to face the Audience. 



8E. ' 

/ 

S.18. ' 

/ 



{SCENE. 



&.3S. 



B. a 



e. 

ATDIENCE. 



L. Left. 

L. c. Left Centre. 

L. 1 E. Left First Entrance. 

L. 2 E. Left Second Entrance. 

L. 3 E. Left Third Entrance. 

L. V. E. Left Upper Entrance 

(wherever this Scene may be.) 

p. L. c. Door Left Centre. 



\ 



\ 



I-33B. 
X..2E. 



\ 



\ 



£.. O. 



c. Centre. 

E. Kight. 

E. 1 E. Eight First Entrance. 

K. 2 E. Right Second Entrance, 

E. 3 E. Bight Third Entrance. 

B, u. E. Eight Upi)er Entrance. 

s. E. o Poor Bight Centre. 



6 MOITEY. 

BILL FOU PEOGItAMMES, Etc. 
The events of this play take place in London. Period, the present century, 
ACT I. 
Scene I.— DRAWING-ROOM IN SIR JOHN VESEY'S HOUSE. 
The Scheming Baronet and his Dauf/hter— Death of a Rich Indian Coit»in 
— The Poor Secretary and the Poor Ward— The Story of Evelyn's Love 
—Offer of Hand and Heart — Clara's JReje^tion — A Tale of Sorrow — 
2%e Beading of the Will — " 1 leave all the residue of my fortune to 
Alfred Evelyn." 

ACT II. 

Scene I.— AN ANTE-ROOM IN EVELYN'S NEW MANSION. 
The Troubles of Biches - Specimen of a Political Economist — Election 
Prospects — Bribery and Corruption — A Game of Battledore and Shuttle- 
cock — The Story of Evelyn'' s Life and Struggles — The Mysterious Let- 
ter—^ Who sent it 1 Clara or Georgina f " 

Scene II.— DRAWING-ROOM AT SIR JOHN VESEY'S. 
Mr. Graves and his " Sainted Maria" — A Dangerous Widmo — 77ie Baronefs 
Cunning — An Artful Trick to Entrap Evelyn — The Portait—The BuAt 
Caught — The Letter was from Georgina — She Sent her Savings to Re- 
lieve Distress — The Offer of Hand and Fortune to Georgina — Evelyn is 
Accepted — Clara's Agony — ** With my whole heart I say it — be happy ! " 

ACT III. 

Scene"!.— DRAWING-ROOMS IN SIR JOHN VESEY'S HOUSE. 
Clouds in the Horizon — Extravagance and Gambling — Rocks Ahead — Clara! s 
Departure from England — The Warning Voice of Love, as a Sister — 
^' Let us part friends/^* — Suspicions of Truth — Graves' Story of 
Georgina's Flirtations — A Trap Set for the Trapper. 

Scene II.— BOUDOIR IN SIR JOHN VESEY'S HOUSE. 
A Widower and Widmo in Love — TTie Temptations of a Charming Woman 
— A Cure for Melancholy — Dancing and a Sweet Voice — Unpleasant 
Inierruptimi. 

Scene III.— GRAND SALOON AT EVELYN'S CLUB HOUSE. 
A Gentleman and a Gambler — Captain Deadly Smooth's Good Luck — Plot 
and Counterplot— InfatuMion in Gaming — Loss after Loss — Evelyn's 
Ruin Approaching, 



MONET. / 

ACT IV. 

Scene L— ANTE-ROOM IN EVELYN'S HOUSE. 

Morning Calls— Debt Against Debt — Novel Mode of Payment by Increasing 
— Not Quite Sharp Enough. 

Scene II.— SPLENDID SALOON IN EVELYN'S HOUSE. 

The Plot Thickens — Evelyn is Drifting Wrong — Suggestions for Assist- 
a}ice—'' Will Georgina help me? — £10,000 for a time will save me'''' 
— An Answer Deferred — Unpleasant Duns and a Sherri^'s Officer — 
Failure of Evelyn^s Bankers— Clamorous Creditors — Pleasure 
Against Charity — Desertion of Friends as the Money goes Down ! 



ACT V. 

Scene I.— A ROOM AT THE CLUB. 

More Neics of the Doicnfall — A Friend in the Scheme — Georgina' s Old Love 
— The Eccentric Barofiet — Political Intrigues — The Mine is Opening. 

Scene II.— DRAWING-ROOMS IN SIR JOHN VESEY'S HOUSE. 

A Devoted Heart — A Woman in Distress — The Old Love Revived — // he 
Can be Saved he Shall — Departure of Clara to see Evelyn^ 

Scene III.— SPLENDID SALOON IN EVELYN'S HOUSE." 

Money Works Wonders — A Change J vom Respect to Infamy — ^Tis the 
ivay of the World— £10,000 placed at Evelyn's Bankers— Saved — 
'^'Tis Georgina'sact—ihe die is cast!" — Lovers Alone— The Story 
of Clara's Life — The Reasons for Rejection — Hope for the Future— 
Too Late!— Evelyn Elected a Member of Parliament — The .Mine is 
Sprung— Startling JVews— Georgina Marries Sir Frederick Blount! 
" Who, then, sent the money to my bankers?" — The Mystery Solved 
— Tlie Letter Explained — Clara Douglas! — Acceptance of Evelyn 
— The Scheme at an End-He was JVever Ruined— Only a Plot to 
Show the Value of 

MOJVEY. 



MONET, 



TEE STOEY OF TRB FLAY, 

In the centre of the most fashionable part of London there resided, at the com- 
mencement of the play, Sir John Vesey, Baronet, ex-Member of Parliament, etc.. 
Fellow of ever so many societies, and President of ever so many Corporations ; in 
fact, a man surrounded by all the attributes of wealth and high political and social 
position. Outwardly well polished, he had naturally a large and influential circle 
of admiring friends and cringing flatterers ; wealth and position, like honey, attract 
many flies— and an artifice he resorted to of c'etting it mooted about that he was 
hoarding up hia money, gradually acquired him tiie name of " Stingy Jack," and 
stimulated a belief, in some persons, and confirmed the opinion of others, that he 
leally was a most highly honorable and wealthy gentleman, though somewhat 
eccentric, and that his only daughter, Georgina, was a rich heiress. 

The fact, however, was just the reverse. Ho had been, and was, playing a very 
deep game indeed ; he was in every respect an unprincipled and unsubstantial man, 
—a living specimen, though more advanced in years, of Dickens' ever to bo remem- 
bered character, Montague Tigg, alias Tigg Montague. 

The members of Sir John Vesey'a household were Georgina, his daughter ; Lady 
Franklin, his half-sister and a widow ; Clara Douglas, a poor orphan cousin and liis 
■ward, and Alfred Evelyn, another poor cousin, who acted as his private secretary. 

As to Sir John himself— his father for services rendered in the army obtained a 
title, but expended all available means in keeping it up, consequently the only for- 
tune he could leave his son was the title. But this worthy son was not to be so 
easily foiled. On the strength of his parent's services, he obtained a pension of 
jB400 a pear, which was quite sufficient trading capital for a man of Sir John's ad- 
venturous disposition and tactics. On jE-iOO he took credit for £800 ; upon which 
credit he married a woman with jBlO.OOO, and increased his credit to jeiO.OOO. Then 
it was that he worked his artful scheme and paid a highly respectable but impover- 
i.shed gentleman so much per week to mix in society and constantly allude to him 
as " Stingy Jack," upon the principle that if a man of position is called " stingy" he 
is presumed to be " rich," and to be presumed " rich," is to be universally respected. 

Working the wires thus, he had been elected a member of Parliament, and re- 
mained so until a fitting opportunity arrived, when he resigned his seat in favor of 
a member of the Government, who, in return, gave him a sinecure appointment, 
bringing in about £2,000 a year ; all of which, and more raised upon the strength of 
it, ho expended annually in keeping up appearances, in the hopes of bringing about 
a wealthy match tor his daughter. 

Of Georgina little can be said, except that she was quite obedient to her father's 
wishes, though at the same time a little artful and self-willed. Her mother died 
young, and therefore the male parental guidance had its effect in moulding her to 
his views. 

Lady Franklin was generous, kind, wealthy, and middled-aged— without any fam- 
ily, and therefore her half-brother had induced her to take off his hands the burden 
of his ward. Clara Douglas was an orphan of his cousin ; her mother died young, 
and her father at his death left her to the care of Sir John as her guardian, but hav- 
ing no wealth, that was all he did leave him, and therefore to a man of Sir John's 
temperament it was by no means an agreeable bequest. It was not long, however, 
before he found a way to transfer the charge to Lady Franklin. 

Alfred Evelyn was left fatherless when a boy and his mother sacrificed everything 
she could to give him education. From school he proceeded to college, where he 
became a " sizar."* 

* " Sizar " is a term u.^ed in the University of Cambridge, in England, to denote a 
body of students, next below the pensioners, wlio eiit at, the public table free of 
expense, after the fellows of the college liave taken their meals. In former times 
they had to wait at table during the meal hours, but this custom has been done 



^i^ 



MONEY. y 

One day, a j'oung lord struck him, he returned the insult by horsewhipping his 
assailant. The then great difference between rich and poor was too strong lor the 
affair to be passed over, so poor Evelyn was expelled the college and all his ambi- 
tious liopes blasted. Coming to London, lie toiled and toiled to the best of his 
ability to earn a scanty subsistence for liimself and mother, and so long as she lived 
he labored strenuously and successfully, but with her death, ambition seemed to 
expire also. As a last resource, he consented to become tiic ill-paid ssecretary and 
hanger-on to his cousin, Sir John Vesey ; but there was a magnet in the house whicli 
attracted him ; he loved Clara Douglas, and to be near that loadstone he sank his 
pride. 

He prepared Sir John's speeches, wrote his pamphlets, made up his calculations, 
composed epitaphs, condensed the debates in Parliament, and even executed various 
orders for the ladies, in bringing home dresses, novels, music, securing boxes at the 
opera, etc., — all done probably upon a salary less than was paid to Sir John's coach- 
man. Such, then, were the constituent elements of the Baronet's household at the 
opening of the play. 

Sir John has just received a letter from Mr. Gravss, an eccentric, but well-mean- 
ing middle-aged gentleman, who never ceases to express, with a melancholy air, the 
loss he experienced by the death of his late wife; whom he invariably terms, with 
uplifted eyes, his " Sainted Maria," though very probably, if the trulJi were known, 
she had l^d him anything but a happy life, and lier departure from this world was 
more of a blessing than a misfortune ; at least, so many persons said, and more 
believed. 

Mr. Graves informs Sir John that a Mr. Mordaunt, to whom'Oeorgina is the near- 
est relation, is dead ; that, having been appointed executor, and having since his 
wife's death lived only in apartments, he proposes to read the will that day at Sir 
John's house, and will come with Mr. Sharp, the lawyer, for that purpose. 

This is great news to Sir John — Mr. Mordaunt was reputed to be worth half a 
million sterling ; Georgina is the nearest relation— there could surely be nothing 
therefore to prevent her coming in for the bulk of his fortune. 

Lady Franklin and Clara arrive ; to the surprise of the worldly-minded Sir John, 
his lialf sister is not in mourning, but poor Clara is, explaining in the genuine feel- 
ing of her nature, that although only a third cousin of the deceased, he had once 
assisted her father, and the quiet mourning robes she had obtained were all the 
respect and gratitude she could show. 

There are other distant relatives interested in the will ; Mr. Stout, a political 
economist, Lord Glossmore, a sort <jf butterfly nobleman : and Sir Frederick Blount, 
a foppish boronet, who, as Lady Franklin facetiously observes, " objects to the letter 
r as being too wough and therefore dwops its acquaintance." 

Alfred Evelyn, in the meantime, has arrived, and sits at the table absorbed in 
reading ; so, when the conversation flags, a general attack is made upon him to 
know if he has executed various commissions, and what has delayed him. Ho 
takes the opportunity to explain to Sir John, that his prolonged absence has been 
occasioned by his having gone to visit a poor woman who was his nurse, and his 
mother's last friend ; that she is very sick, nay, dying, that she owes six months 
rent, and he appeals to Sir John for assistance. It is refused ; but Georgina 
overhears it, and her first impulse is to assist him, but then she might not have the 
fortune, her allowance is very little, and she must purchase a pair of earrings she 
has seen ; she, however, inquires the address of the nurse. Upon this point the play 
hinges. Evelyn is misled by her unsolicited generosity, and gives it, and as Georgina 
reads it aloud, Clara silently takes a note of it, places all her little money in an 
envelope— but how to direct it 1 Evelyn would know her handwriting, and that 
must not be, so she appeals to Lady Franklin, who promises that he shall not know 

away with some years. The term so applied to them was probably derived from 
this ancient occupation, as the food they had to supply when so engaged was called 
" size." It may well be imagined how naturally a spirit like Evelyn's recoiled f.li 
the position. 



10 MONKT. 

it, that her ward shall direct it, and she will herself furnish the mone}-, as it is more 
than Clara can spare. 

Sir Frederick Blount arrives, and in his stupid, foppish way, addresses many very 
ridiculoujj observations to Clara, which produces some excellent by-play and sarcas- 
tic remarks from Evelyn, who, though apparently sittiug at the t;\blc reading, is 
watching with a keen and jealous eye every movement of the idol of his affections* 
8ir Frederick being called away, they are left alone, and in the most exquisite and 
perfect language, he tells the story of his love. But what is his liorror and dismay 
to meet a calm, yet firm, refusal J Clara sees that, poor as they are, it would only 
be a marriage of privation and of penury— a life of days that dread the morrow — her 
love is his — she can submit to suffer alone, but bring him into it also, she cannot. 

Mr. Graves and Mr. Sharp tlie lawyer arrive, and the reading of the will com- 
mences. Much disappointment, but more amusement, is created by the peculiarity 
and sraallness of the bequests ; the largest being one of jBlO.OOO to Georgiiia Vesey. 

'* What can the old fool have done with liis money 2" exclaims .Sir John, losing 
all control. The climax soon comes; the deceased bequeaths the entire residue of 
his immense fortune to the only relative who never fawned upon liira, and who, 
having known privation, may the better employ wealth — Alfred Evelyn I Congrat- 
nlations on every side are unbounded, but the voice of her he IoVls is silent. ^ 

Evelyn is speedily installed in the first style of position ; his pittroiiage is songht 
by every one ; tradesmen, electors, artistn, and every rank of persons — but this 
does not prevent his dispensing charity with a liberal hand, for which he secures the 
services of Mr, Sharp, 

To Graves lie tells the story of his life and love, and further, that in the letter 
■which the lawyer gave him after the reading of the will, there was a request from 
Mr. Mordaunt — but not imposing any condition — asking as a tivor, if he had formed 
no other attachment, to clioose as liis wife, lither Georgina or Clara, who was the 
daughter of a dear friend of tlie deceased. He still loves Clara, but her rejection 
overcomes him ; besides, he has obtained the letter, written in a disguised hand, 
sending money to, and saving liis nnrse. His heart yearns to believe that it was 
Clara's doing, but he cannot conceive how she should know the address, besides the 
amount was too much for her to send. He also tells Graves, that determined to be 
revenged upon Clara for refusing him, he has bribed Sharp, the lawyer, to say that 
the letter he gave him contained a codicil to the will, bequeathing Clara j62O,00O; so 
that she will be no longer a dependent, and that she will owe her release from 
almost beggary and insult, unknowingly, to the poor scholar whom she hud rejected. 
With this joyous and noble feeling he determines to visit Lady Franklin, and see 
if he can possibly ascertain by whom the money was sent to his nurse. 

Consequent upon her unlooked-for wealth, Clara is now admired by all, even by 
Sir Frederick, Lady Franklin always assures her she believes Evelyn still loves her, 
and begs permission to tell him who sent the money to the nurse, otherwise he 
might imagine it came from Georgina. Sir John Vesey happens to overhear this 
remark, and determines to improve upon it, to secure Evelyn for his daugliter, 
Clara makes Lady Franklin promise never to reveal the secret — most reluctantly 
she obeys. 

Sir John questions his daughter ; she had taken down the address, intending to, 
but did not, send the money. That is quite enough ground for Sir John to work 
upon. 

A new character now comes upon the scene, Captain Dudley Smooth, but who, in 
consequence of his fashionable manners and abilities, unusual success at the gaming 
table, and skill as a duellist, liad acquired the name of " Deadly " Smooth, and he 
is of course soon one of the friends of the wealthy Evelyn. 

Sir Frederick Blount also seeks Evelyn's aid to promote his suit with Clara, tell- 
ing him that he finds Georgina had a prior attachment, which prior attachment was 
no other than Evelyn himself, and therefore he must give her up ^nd try his luck 
with Clara. Evelyn agrees to help him, and urges his merits in a bantering tone. 
'observing Sir Frederick's att^tions, Georgina determines to flirt with Evelyn, au^ 



M05EY. 11 

Sir John seizes the opportunity to introduce to bis notice a portfolio of her draw- 
ings ; turning' them over one after another nntil up comes a portrait of— Alfred 
Evelyn ! 

He is astonished and confused. Can she really lore him T A thought strikea 
' -Ti— carelessly he asks her if she has yet purchased a guitar she spoke of some 
months since. Now is the time for the master stroke, so taking him aside. Sir John 
hints that she had applied the money in charity; that she did not wish it known, 
and had employed some one else to direct the letter. The blow is well str.uck, the 
shaft strikes home ; such benevolence, and such love as to draw his portrait ; Clara 
had refused him, how could he do otherwise than offer to Georgiua ? He frankly 
tells her of his love for another, deep and true, but vain, that he cannot give her 
a first love, but he does offer her esteem, gratitude, hand and fortune. 

It is accepted. Poor Clara OA^erLears all, and sinks on her chair fainting; he 
rushes to her .side, and abe rallies sufficiently to exclaim, •' With my whole heart 1 
say it— be happj-— Alfred Evelyn 1" 

The time for the wedding is somewhat delayed, much to Sir John's annoyance, 
and Georgina complains that Eve'yn's visits are not so frequent, nor his manners so 
cheerful as they used to be — indeed, her former admirer. Sir Frederick, was far 
more attentive and amusing. Sir John does not half like the way Evelyn is going 
on. Fine houses in London, and in the country balls, banquets, expensive pic- 
tures, horses, liberal charities, everything tending to diminish rapid. y the largest 
fortune. In addition to which, it is reported, he has taken to gambling, and is 
nearly always in company with Captain Deadly Smooth, against whose arts, no 
young man of fortune had been known to stand long. 

Sir John determines that it is absolutely necessary to bring about an early settle- 
ment, and to further this, he thinks it best to get Clara away. He speaks to her 
upon the subject, and she consents to leave England rather than cloud his daugh- 
ter's hopes, and to that ellVut promises to write a letter. As she is finishing it, 
Evelyn calls to see Georgina, who is out, and, as they are alone, L'lara tells him of 
her intended departure. 

In a scene of the most choice and beautiful language, replete with exquisite 
pathos, she breathes her thanks for past kindness, and now, that he is betrothed to 
another, her love — as a sister — dictates to her to remonstrate with him upon liis 
parade, and luxuries, and follies. But he tells lier that this casting aside of his 
high qualities, this dalliance with a loftier fate, was her own work. It is impossi- 
ble adequately to describe the pure and beautiful language of this scene — the 
skillful mingling of love and reproaches — and the bitter parting — as friends! 

As he is recovering from the blow. Graves meets him, and tells him that he knows 
for a fact. Sir Frederick has proposed to Clara and been refused ; nay, more, that 
Georgina is not in love with him, but only with his fortune ; and that she plays 
affection with him in the afternoon, after she has practiced with Sir Frederick in 
the morning. And further, that Sit John is vastly alarmed at his gambling pro- 
pensities, and his connection with Captain Smooth, so much so, that he intends 
visiting the club that evening to watch him. 

A light breaks upon Evelyn, and he assures Graves that if these stories are true, 
the duper shall be duped, and he will extricate himself; to this end, he determines 
to shape his plans. 

One of the liveliest scenes in the play here follows between Lady Franklin, who 
is really in love with the solemn and melancholy Graves. She so talks and works 
upon his feelings, that he gradually relaxes his staid dcmranor, and actually joins 
her in a dance, her own sweet, merry voice supplying the music. In the midst of 
their meriment they are interrupted and confuse 1 by the sudden entrance of Sir 
John, Blount and Georgina. It is the finest piece of comedy ever put upon thu 
stage, and affords scope for exceHent acting. 

We are now introduced to the club. Evelyn arrives, and requests Smooth to play 
with him, and he loses game after game. Watching his opportunity, he takes the 
Captain aside and acquaints him with a plot he has formed to test the truth of his 



1- MONEY. 

suspicions of the intentions of Georgina and her father— into this scheme, Smooth 
readily enters, and returning to the table, they renew their play. Sir Jolm arrives, 
and watches with the most intense excitement, game after game lost, with con- 
stantly increasing stakes. In apparent agony, Evelyn rises from the table, declar- 
ing that the work is ruinous, and he will play no more. All the members crowd 
round the Captain to ascertain the extent of his winnings ; the only answer they 
get is an offer to purchase from one of them a furnished house which he has to sell 
for jElOjOOO, which, from his manner, he leads them to believe, is a mere trifle. They 
catch the bait, and at once imagine he must have won double and treble that sum. 
Sir John's consternation is fearful, but the more so when he sees Evelyn, apparently 
under the influence of too much wine, take hold of Smooth's arm, and declare they 
must now make a night of it. 

In the morning, Glossmore and Sir Frederick call upon Evelyn to settle some 
small accounts with him. He still carries on the deception, and not only excuses 
paying them, but works a trick between them, by which he secures a further check 
from each, and makes a present to one of a horse he buys on credit from the other. 
He goes further than this ; not only does he borrow JE500 from Sir John, but he also 
tells him that he has sold out of the funds suflicient money to pay the balance for 
the purchase of an estate ; that the money is laying at his bankers, but he cannot 
touch it for any other purpose, or the estate will be lost, and the deposit money he 
has paid forefeited. He alludes, therefore, to Georgina's jElOOOO legacy, and man- 
aging cleverly to get Sir John out of the way, he speaks to her upon tlie subject. 
He tells her of his position, that they may probably liave to retrench and live in the 
country, and suggests that she should lend him the jeiO,000 for a few weeks to meet 
some pressing claims ; without confidence there can be no joy in wedlock. She 
hesitates, then promises he shall hear from her. 

Smooth, Glossmore and others now arrive, and, still carrying on the deception, he 
appears most servile and cringing to the Captain, In a well constructed scene, lie 
calls Ihe attention of all to his unexpected accession to wealth twelve months since, 
and claims their good opinion for the way in which he has acted — they all outwardly 
approve, but inwardly they earnestly wish they had back their various loans. Their 
nervous excitement is increised by news being brought that the bankers with 
whom he banked have suspended payment, and they very much doubt his assur- 
ance that he had not much money there. Tliis is followed by several tradesmen 
applying for their bills, and then by the entry of a sheriff's officer to serve him with 
a summons. All this is too ovei-powering — Sir John vehemently demands his jE500, 
and the others join chorus. Graves is overcome ; he tells Evelyn to go into dinner, 
and he will settle with the officer. Delighted at this generosity, Lady Franklin 
ingenuously exclaims, "I love you for that !" and poor Graves loses his usual solemn- 
ity in the pleasure he experiences at this avowal. 

Again Evelyn appeals to Georgina ; he shall hear to-morrow ; but Sir John can 
restrain himself no longer, and he commands her, as his " poor, injured, innocent 
child," to take the arm of Sir Frederick Blount. The doors are thrown open, and 
Evelyn invites all his friends to the dinner prepared for them ; but in doing so, he 
appeals to them, in mockery, to lend him £10 for his poor old nurse. This is too 
much, and he then bitterly reminds them that in the morning they lent him hun- 
dreds for pleasure, but now they refuse him a trifle for charity, and he commands 
them to go. Smooth alone remains, and being joined by Graves, the three repair 
to the table " to fill a bumper to the brave hearts that never desert us !" 

Events now approach a climax. Graves and Lady Franklin have become more 
intimate and confidential. He tells her he is certain that Evelyn still loves Clara, 
but doubts if she cares for him. Lady Franklin, on the other hand, assures him 
that ever since she has heard of Evelyn's distress, she has been breaking her heart 
for him. 

Clara arrives, having been to her bankers, for what purpose she declines to say ; 
but she says she has heard that jtlO.OOO would relieve Evelyn, and probably Georgina 
would lend him the amount. Graves much doubts such generosity in a woman, but 



MONEY. 13 

he hints that he knew of greater generosity in a man, who, rejected in poverty, by 
one as poor as himself, when he became rich, through a well invented codicil, had 
made the woman rich. A light dawns upon Clara, she will see Evelyn and know the 
truth. 

Evelyn's scheme has thus far succeeded. Upon Graves offering to aid him all he 
can, he is so pleased that he reveals his true position, and assures him that scarcely 
a month's income of his large fortune has been touched ; it was merely a ruse to 
see whether a woman's love was given to " man " or " money." If Georgina should 
prove by her answer her confidence and generosity, then, though his heart should 
break, he would marry her ; on the other hand, should she decline, there would 
be hope for explanations with Clara. 

A letter is brought in, and upon opening it, he finds a notice that jB 10,000 has 
been paid into the bank to his account. This decides the matter— the die is cast, 
and Georgina wins. Lady Franklin arrives with Clara, and compelling Graves to 
withdraw, leaves her and Evelyn together. 

In brilliant and telling language, the true and noble sentiments of Clara are 
revealed ; explanation upon explanation follows, and the ardent love of both is 
powerfully and touchingly iwrtrayed ; but it is too kite ! Evelyn, still believing 
that it is Georgina who has assisted him, asserts, that by every tie of faith, grati- 
tude, loyalty and love, he is bound to another I Sir John hurries in, stating that 
he has an oflfer from Georgina to advance the money, and is astounded when Evelyn 
tells him the amount has been already paid into his bankers. Then Sliarp arrives 
with the news that Evelyn has been elected a Member of Parliament, and lie also 
informs Sir John that the loss by the failure of the bank was only £100 or so, and 
that Evelyn has always been living within liis income. This is indied good news, 
and Sir John is in ecstacies, when his daughter and Sir Frederick arrive ; but before 
lie can speak, Evelyn addresses her, desiring to know if she has assisted and 
trusted him purely and sincerely. She cannot comprehend him, and tells him, that 
following the principles she once heard uttered, " what is money wiihout happi- 
ness ?" she hail, that morning, promised her hand to Sir Frederick Blount ! Utterly 
astounded, Evelyn produces the letter — Lady Franklin reads it — the money had 
been paid in by " a friend, to Alfred Evelyn ;" the same name used in sending the 
money to the old nurse, and she at once proclaims both as Clara's acts. In an 
ecstacy of delight, Evelyn offers love and fortune ; this time he is not rejected. The 
solemn Graves forgets his " sainted Maria," and joins hands with Lady Franklin, 
and all but Sir John realize the combination of happiness and— Money ! 



hemaeks. 



In introducing the third, in the new series of Bulwer's plays, it is a labor of love. 
The recollections of its excellent production, and of witnessing it afterwards upon 
almost every occasion of its reproduction in London, bring to mind old associ- 
ations that are agreeable, yet saddening ; for many of those who filled the parts, 
and whose company was ever welcome, both on and off the stage, are now no more. 

Of all Bulwer's plays, this is, undoubtedly the best— it is more than fine — it is a 
splendid comedy, so telling, and so true to life in all the principles, and in the delin- 
eation of chai-acters with which a wayfarer through the world constantly meets. It 
makes such a powerful appeal, in presenting the spectacle of a man endowed with 
intellect, education, and gentlemanly bearing, occupying a subordinate position, but 
expected to be of the greatest usefulness upon all occasions, at the same time receiv- 
ing less pay than the tall footman of the establishment, and considerable fewer 
perquisites than the favorite butler ; a position from which he is only released by a 
most unexpected stroke of fortune. 

The conception and the execution of the plot are, in my opinion, perfect. All the 



14 



MONES". 



observations touching upon falsity, pride, deceptive appearances, worldlj' scliem- 
ing-, pure iiffection, hypocrisy, are painted and well drawn, so admirably depictured, 
that they cannot fail to tell. 

Upon reference to the remarks and dates in tlie previous plays, it will be found 
that only about eleven months elapsed between the production of the Lady of Lyons 
and llichelieu, wiiereas, between that play and this, nearly double that period 
passed awny, and certain it is, that the author made good use of it, by producing a 
work, both in plot and language, A'ery far surpassing- :ill his previous efforts, and 
giving to the world one of the finest comedies, if not ike finest, in the English 1 m- 
guagc. 

He had again the good luck to be supported by the highest professional material 
available tor carrying out his ideas, and it can be stated, from personal knowledge 
of all the ladies and gentlemen engaged in the play, that the characters were well 
suited to the actors, and the actors to the cliaracters ; consequently, nothing could 
be more felicitous or ho likely to ensure success, as the result proved. Again he had 
for his hero, Alfred Evelyn, Mr. Macready, the hero of his previous plays, and for 
his heroine, Clara Douglas, Miss Helen Faucit, who had contributed so largely to 
previous successes. 

As was noticed in the remarks to the Lady of Lyons and Kichelieu, those plays 
had the benefit of being supported by actors, all of whom afterwards attained lead- 
ing positions in the profession; so was it with this play. On its first production 
tbere was a concentration of talent, blooming, half blooming, and about to bloom, 
that ensured a proper rendering of a meritorious play. 

It will be observed, that the scene of triumph was changed from the Theatre 
Royal, Covent Garden, to the Theatre Royal, Haymarket, London ; and that of the 
ladies and gentlemen who had played in the author's previous productions, only 
four had parts in this, viz : Miss H. Faucit, Mr. Macready, Mr. F. Vining, and 
Mr. Howe. But the others were a little host. Mr. "Walter Lacy, one of the finest, 
and most gentlemanly actors on the stage ; Mr. B, Webster, a great actor, and for 
many years lessee of the Haymarket, Adelphi, and Princess' Theatres, in London, 
■where he is still playing, at an advanced age, and who is celebrated for having 
brought out, at the Adelphi Theatre, in conjunction with Madame Celeste, a very 
large number of first class dramas—" The Hop Pickers,"—" The Harvest Home," 
— " The Green Bushes," and farces innumerable. Mr. Wrench and Mr. Oxberry, 
low comedians of the first class ; the latter, a gentleman of much intellect and edu- 
cation, as his " Dramatic Budget " will testify. 

Mr. O. Smith, who for many years played the " villain " in all domestic dramas, 
with unqualified success, so good was his make up, and so well adapted for such 
character, his cool, deep voice. Mrs. Glover, a most amiable and accomplished lady^ 
who was for many years a stock member of the Haymarket Company, and as 
famous in London, for her admirable delineation of ladies of middle and more 
advanced age, as Mrs, Wheately was in this country. Lastly, Miss P. Horton, who 
was afterwards, for many years without a rival, as the chief burlesque and extrava- 
ganza actress in London. She married Mr. T. G Reed, a celebrated musical direc- 
tor and composer, and together they carried on for many years a beautiful little 
theatre in Regent street, London, where they produced a number of musical 
pieces of the highest class; it was like a handsome drawing-room, and was known 
as " The Gallery of Illustration." 

Poor Mrs. Glover met with a melancholy end. Upon the occasion of her farewell 
benefit in London, July 12th, 18)0, she was so overcome by the reception given to 
her, and the emotions at quitting forever the scene of so many triumphs, and of 
long standing associations— for the Haymarket Company was tei'med " the happy 
family " — season after season for many years rarely witnessing any change amongtt 
the members — that she sudden y became speechless, and three days afterwards, July 
15th, 1850, she expired. 

Of Mr. O. Smith's popularity and fame, for his deep voice and demoniacal laugh, 1 
may mention a little incident. Some years since, I produced in London an extrav 



MONKY. 15 

aganza called " The Three Princes," and I am happy to say it met -with the greatest 
possible success. I introduced in it an allusion to his voice. Tiie evil genius of the 
piece threatens utter annihilation to one of the princes, to which the reply came : 

" Destroy me, kin and kith 1 
You speak exactly like the Adelphi Smith !" 

and so well and so widely known was the actor and hia voice, that during a run of 
nearly two hundred nights, the allusion and imitation never once failed to bring 
forth a hearty laugli. 

With reference to the character of Sir John Vesey, it is interesting to observe 
that " truth is stranger than fiction." He says, in the first scene, " If you have no 
merit or money of your own, you must trade on the merits and money of other 
people." In a recent great law case in England, " The Tichborne Case," the trial 
of which lasted nearly twelve months, an old pocket book was produced in evidence, 
in which the claimant to the title and estates (afterwards sentenced to fourteen 
years imprisonment for perjury and forgery) had written "some people has plenty 
of money and no brains, and some people has plenty of brains and no money," 
therefore, he held it was the duty of the latter to prey upon the former. He was 
evidently a vulgar disciple of the Sir John Vesey school, of which there are speci- 
mens to be met with everywhere. 

Mr. Macready was followed in the character of Alfred Evelyn, by all tlioso who 
had followed him in the Lady of Lyons ; Charles Kean, Phelps, Anderson, Creswick, 
and a host of others previously mentioned, who were as successful in this as in the 
previous jjlays. 

As before stated. Money was first produced in America at the Old Park Theatre, 
New York, Feb. 1st, 1841, with an excellent cast. 

Mr. Hield, who played the hero, was a gentlemanly and intellectual actor; he 
made a great hit, and for many years afterwards repeated the character with con- 
tinued success. 

Mr. Chippendale as Sir John Vesey, and Mrs. Chippendale as Georgina, were also 
most successful, whilst Mrs. Maeder as Clara Dt)uylas, and Mrs, Vernon as the warm 
hearted Lady Franklin, added greatly to the triumph of the play. 

It was afterwards produced at the Chatham Theatre, situated on Chatham 
street between Roosevelt and James streets, and at the Broadway, whicli was situ- 
ated on Broadway between Pearl street and Anthony (now Worth) street, with the 
following cast : 

Chatham Theatre, Broadway 'Hiealre, 

Sept. 4, 1843. I^i-ov. 4, 1847. 

Alfred Evelyn Mr. Hiei.d. Mr. G. Vandknhoff, 

Sir John Vesey Mr. Greene. Mr. H. Wallack. 

Lord Glossmore Mr. Booth, Jh. Mr. pEr.BKiiiCKs, 

Sir Frederick Blount Mr. Field. Mr. Lesthui. 

Stout ..Mr. Collins. Mr. E. 8hav>', 

Graves Mr. Burton. Mr, Vachk. 

Captain Dudley Smooth Mr. Stevens. Mr. Dawson. 

Clara Douglas Mrs. G.Jones. Miss F. Wall ace.. 

Lady Franklin Mrs. Rivers. Mrs. Winstanlhy. 

Georgina Miss Kirby. Mrs. Sergea.nt. 

And also on September 16, 1857, at Burton's New Theatre, when Mr. Mindoch 
played Alfred Evelyn, Mr. Barton, Graves, and Mrs. W. H. Smith, Lady Franklii. 

But perhaps as fine and almost as good a representation ol the comedy was than 
produced at Wallack's Theatre, New York, Jan. 17, 1874, with the following excel- 
lent cast : 



16 MONKY. 

Alfred Evelyn Mr. Lester Wallace. 

Sir John Vesej' Mr. J. W, Carroll. 

Lord Glossmore . Mr. J. W. Feuguson. 

Sir Frederick Blount Mr. W. R. Flovd. 

Benjamin Stout Mr. John Brougham. 

Graves Mr. Harry Beckett. 

Captain Dudley Smooth Mr. J. B. Polk. 

Mr. Sliarp Mr. G. F. Bkowne. 

Old Member Mr. T. C. Mills. 

Clara Douglas Miss Jeffheys Lewis. 

Lady Franklin Madame Ponisl 

Georgina Miss Dora Goldthwaite. 

Having been present upon innumerable occasions of the representations of this 
play, and witnessed the performance of nearly all the Alfred Evelyns on the London 
boards, I have no hesitation in saying I never, as a whole, saw the play better 
mounted or acted. The Alfred Evelyn of Mr. Lester Wallack will bear comj.arison 
with any ; if we could only have the pleasure of making him a few years younger it 
would enhance the beauty of the i^erformance ; but one could afford to put aside 
that little drawback ; it was fully compensated for by the fine delivery of the text, 
and the intellect and bearing of one of nature's nobleman, such as Alfred Evelyn 
is supposed to be, and the actor is. 

Mr. John Broufiham's StoiU, Mr. Harry Beckett's Graves, Mr. W. R. Floyd's Sir 
Frederick Blount, were all most admirably rendered. Miss Jeffreys Lewis made an 
excellent Clara Douglas, and as Lady FranJdin, Madame Ponisi well sustained her 
reputation, whilst Miss Dora GoldthM'aite as Georgina was all that was needed. 
Indeed all engaged were good. As I have said in my former remarks, so I say of 
this play— not one jot of brilliancy and effect has besn lost in transferring it to the 
American boards, j. m. k. 



MONEY 



ACT I. 

SCENE I. — A drawing-room in Sia John Vksey's house ; folding doors c, 
ichich open on another draioing-room. To the right a table, tvith the 
Morning Post neivspapcr, hooks, etc. ; to the left, a sofa and writing table. 
The furniture tasteful and cosllg. 

Sir John and Georgina discovered, r. c. 

Sir John {reading a letter edged with black). Yes, he saj's at two pre- 
cisely. '-'Dear Sir John, as since the death of mj' sainted Maria," — 
Hum ! — that's his wife ; she made him a martyr, and now he makes lier 
a saint ! 

Geor. Well, as since her death 1 — 

Siu J. {reading). " I have been living in chambers, where I cannot so 
well invite ladies, you will allow nie to brin<i Mr. Sharp, the lawyer, to 
read the will of the late Mr. Mordaunt (to which I am appointed execu- 
tor) at your house — your dauirhter being tlie nearest relation. I shall 
be with you at two precisely. — Henry Graves." 

Geor. And you really think I shall be uncle Mordaunt's heiress ? 
And that the fortune he made in India is half a million 1 

Sir .]. Ay! I have no doubt you will be the richest heiress in Eng- 
land. But sit down, my dear Georgy — my dear gu'l. (Gkorgina sits r. 
H. of table, Sir John l. h.) Upon this happy — I mean melancholy — occa- 
sion, I feel that I may trust you with a secret. You see this fine house 
— our fine servants — our fine plate — our fine dinners ; every one thinks 
Sir John Vesey a rich man. 

Geor. And are you not, papa 1 

Sir J. Not a bit of it — all humbug, child — all humbug, upon my 
soul ! There are two rules in life — First, men are not valued for what 
they are, but what they seem to be. Secondly, if you have no merit or 
money of your own, you must trade on the merits and money of other 
people. My father got the title by services in the army, and died pen- 
niless. On the strenoth of his services I got a pension of £400 a year; 
on the strength of £400 a year I took credit for £800 ; on the strength' 
of £800 a year I married your mother with £10,000 ; on the strengtii of 
£10,000 I took credit for £40.000. and paid Dicky Gossip three guineas 
a week to go about everywhere calHng me " Stingy Jack !" 

Geoij. Ha ! ha ! A disagreeable nickname. 

Sir J. But a valuable reputation. When a man is called stingy, it is 
as mu'.'h as calling him rich ; and when a man's called rich, why he's a 
man universally respected. On the strength of my respectability I 
wheedled a constituency, changed ray politics, resigned my seat to a 
minister, who, to a man of such stake in the country, could offer nothing 



18 MONEY. [act I. 

less in return than a patent office of £2,000 a year. Tliat's the way to 
succeed in life. Humbug, my dear — all humbug, upon my soul ! 

Gkok. I must say that you 

Sir J. Know the world, to be sure. Now, for your fortune — as I 
spend more than my income, I can have nothing to leave you; yet, even 
without counting your uncle, you have always passed lor an heiress on 
the credit of your expectations from the savings of " Stingy Jack." 
Ai)ropos of a husband ; you know we thought of Sir Frederick Blount. 

Geoij. Ah, papa, he is charming. 

SiK J. Hem I He teas so, my dear, before we knew your poor uncle 
was dead ; but an heiress such as you will be should look out for a duke. 
Where the deuce is Evelyn this morning ? (y/sw, jjuts back the c/uiir, goes 
to L. tcthlc, marks the letter and puts it in his pocket.) 

Geor. I've not seen him, papa. What a strange charactei: he is — so 
sarcastic; and yet he can be agreeable, {pais hack her chair and then 
ffoes R.) 

Sir J. A humorist — a cynic I One never knows how to take him. My 
private secretary — a i)oor cousin, has not got a shilling, and yet, hang 
me, if he does not keep us all at a sort of a distance. 

Geor. But why do you take him to live with us, papa, since there's 
no good to be got by it V 

Sir J. There you are wrong ; he has a great deal of talent; prepares 
my speeches, writes my pamphlets, looks up my calculations. Besides, 
he is our cousin — he has no salary ; kindness to a poor relation always 
tells well in the world ; and, benevolence is a useful virtue — particularly 
when you can have it for nothing. With our other cousin, Clara, it was 
different; her father thought fit to leave me her guardian, though she 
had not a penny— a mere useless encumbrance ; so, you see, I got my 
half-sister, Lady Franklin, to take her otF my hands. 

Geor. How much longer is Lady Franklin's visit to be 1 (at table r., 
takes up paper, reads until she speaks to Evelyn.) 

Sir J. 1 don't know^ my dear; the longer the better — for her hus- 
band left her a good deal of money at her own disposal. Ah, here she 
comes ! 

Enter Lady Franklin and ChKRA., c. r. 

My dear sister, we were just loud in your praises. But how's this — not 
in mourning 7 

Lady F. Why should I go in mourning for a man I never saw 1 

Sir J. Still there may be a legacy. 

Lady F. Then there'll be less cause for affliction ! Ha, ha ! my dear 
Sir John, I'm one of those who think feelings a kind of property, and 
never take credit for them upon false pretences, (crosses to table l., sits.) 

Sir J. [aside, l.). Vi^ry silly woman ! {aloud) But, Clara, I see you are 
more attentive to the pro[>er decorum ; yet you are very, reri/, very dis- 
tantly coimected with the deceased — a third cousin, I think 1 

Clara. Mr. Mordaunt once assisted my father, and these poor robes 
are all the gratitude I can show him. {ffoes to l. table and sits.) 

Sir J. {aside). Gratitude ! humph ! 1 am afraid the minx has got ex- 
pectations. 

Lady F. So, Mr. Graves is the executor — the will is addressed to 
him? The same Mr. Graves who is always in black, always lamenting 
his ill-fortune and his sainted Maria, who led him the lifr^ of a dog ? 

Sir J. The very same. His liveries are black — his carriage is black 
— he always rides a black galloway — and faith, if he ever marry again, 
I think he will show his respect to the sainted Maria by marrying a 
black woman. 



ACT I.] 



MONET. 19 



Lady F. Ha ! ha ! we shall see. [aside) Poor Graves, I always liked 
him; he made an excellent husband, {down c.) 

Enter Evelrn, c. l., seats himself l. of -&. table, and tahes up a booJc unob- 
served. 

Sir J. What a crowd of relations this will brings to light! Mr. Stout, 
the Political Economist — Lord Glossmore 

Lady F. Whose grand t'atlier kept a pawnbroker's shop, and who, 
accordingly, entertains the profomidest contempt for everything popular, 
'parvenu, and plebeian. 

Sir J. Sir Frederick Blount 

Lady F. Sir Fwedewick Blount, who objects to the letter r as being 
too wough, and therefore dit'ops its acquaintance ; one of the new class 
of prudent young gentlemen, who, not having spirits and constitution fur 
the hearty excesses of tiieir predecessors, intrench themselves in the dig- 
nity of a lady-like languor. A man of fashion in the last century was 
riotous and thouglitless — in this he is tranquil and egotistical. He never 
does anything that is silly, or says anything that is wise. I b^g your 
l)ardon, my dear : I believe Sir Frederick is an admirer of yours, pro- 
vided, on reflection, he does not see "what harm it could do him" to 
fall in love with your beauty and expectations. Then, too, our poor 
cousin the scholar — {C'la.b.a touches Lady ¥ haiuki^i-s , and points <:o Eve- 
lyn. All turn and look at him) Oh, Mr. Evelyn, there you are! (^resumes 
her seat.) 

Sir J. {going up to Evelyn, r. c). Evelyn — the very person I wanted ; 
where have you been all day 1 Have you seen to tl)ose papers ? — have 
you written my epitaph on poor jMordaunt ? — Latin, you know 1 — have 
you reported my speech at Exeter Hall? — have you looked out tlie de- 
bates on the Customs 1 — and — oh, have you mended up all the old pens 
in the study ? 

Geor. (r. o/r. table). And have you brought me the black floss silk 1 
— have you been to Storr's for my ring 1 — and, as we catmot go out on 
this melancholy occasion, did you call at Hookham's for the last H. B. 
and the Comic Annual \ 

Lady F. {rises and goes to Evelyn). And did you see what was really 
the matter with my bay horse 1 — did you get me the opera-box 1 — did 
you buy my little Chailey his peg-top 1 

Evelyn {always reading). Certainly, Paley is right upon that point ; 
for, put the syllogism thus — {looking up) Ma'am — sir — Miss Vesey — you 
want something of me V — Paley observes, that to assist even the unde- 
serving tends to the better regulation of our charitable feelings. — No 
apologies — I am quite at your service, {shuts the book and comes forward.) 

Silt J. Now he's in one of his humors ! 

Lady F. {down e.). You allow him strange liberties, Sir John. 

Eve. (c). You will be the less surprised at that, madam, when I in- 
form you that Sir John allows me nothing else. I am now about to 
draw on his t)enevolence. 

Lady F. I beg your pardon, sir, and like your spirit. Sir John, I'm in 
the way, I see ; fur I know your benevolence is so delicate that you 
never allow any one to detect it ! [Retires and goes off. c. l. 

Eve. I could not do your commissions to-day — I have been to visit a 
poor woman, wdio was my nurse and my mother's last friend. She is 
very poor — very — sick — dying — and she owes six months' rent ! 

Sir J. (l.). You know 1 should be most happy to do anything for 
yourself. But the nurse — [aside) Some people's nurses are alwavs ill! 
{aloud) There are so many impostors about ! We'll talk of it to-morrow. 



20 MONEY. [act I 

(Evelyn goen to the table, l.) This mournful occasion takes up all of my 
attention, {looking at his ivatch) Bless me ! so late ! Ive letters to write, 
and — none of the pens are mended ! [Exit^ r. 

Geor. {taking out her purse, r.). I think I will give it to him — and yet 
if I don't get tiie fortune, after all ! — Papa allows me so little ! — then I 
onust hav3 those earrings, {puts up the purse) Mr. Evelyn, what is tlie ad- 
dress of your nurse ? 

Eve. (writes at l. table, and give^ it — aside). She has a good heart with 
all her foibles ! {aloud) Ah ! Miss Vesey, if that poor wonian had not 
closed the eyes of my lost mother, Alfred Evelyn would not have been 
this beggar to your father. 

Geob. {reading). " Mrs. Staunton, 14 Amos street, Pentonville." 
(Clara, at the table, writes down the address as she hears Georgina read it.) 

Geok. I will certainly attend to it — {aside) it I get the fortune. (Eve- 
lyn goes up R. ) 

Sill J. [calling, without). Georgy, I say ! 

Geou. Yes, papa ! • [Exit, r. 

Evelyn has seated himself again at the table— lo the right, — and leans his 
face on his hands. 

Clara. His noble spirit bowed to this ! Ah, at least here I may give 
him comfort, {sits down to write) But he will recognize my hand. 

Re-enter Lady Franklin, c. 

Lady F. {looking over her shoulder). What bill are you paying, Clara 1 
— putting up a bank-note ? 

Clara. Hush! — 0, Lady Franklin, you are the kindest of human be- 
ings. This is for a poor person — 1 would not have her know whence it 
came, or slie would refuse it ! Would youl — No — No — he knows her 
handwriting also ! 

Lady F. Will I — whaf? — give the money myself ? — with pleasure! 
Poor Clara — why, this covers all your savings — and I am so rich I 

Clara. Nay, I would wish to do all myself ! It is a pride — a duty — 
it is a joy ; and I have so few joys ! But hush ! — this way. {they retire 
into the inner room and converse in dumb shoiv.) 

Eve. [seated). And thus must I grind out ray life for ever! I am am- 
bitious, and Poverty drags me down ; I have learning, and Poverty 
makes me the drudge of fools ! I love, and Poverty stands like a spec- 
tre before the altar ! But no, no — if, as 1 believe, I am but loved again, 
I will— will — what? — turn opium eater, and dream of the Eden I may 
never enter 1 (Lady Franklin and Clara advance, c.) 

Clara. But you must be sure that Evelyn never knows that I sent 
this money to his nurse. 

Lady P. {to Clara). Never fear — I will get my maid to copy and di- 
rect this — she writes well, and her hand will never be discovered. I 
will have it done and sent instantly. [Exit, r. 

Clara advances to the front of stage, and scats herself, r. c ; Evelyn read- 
ing. Enter Sir Frederick Blount, c, l. ; he comes doivn, l. c. 

Blount. No one in the woom 1 — Oh, Miss Douglas ! Pway don't let 
me disturb you. Where is Miss Vesey — Georgina 1 {taking Clara's 
chair as she i'ises.) 

EvB. [looking up, gives Clara a chair, and reseats himself. ■ Aside) Inso- 
lent puppy ! 



ACT I.] MONEf. 21 

Clara. Shall I tell her you are here, Sir Frederick ? 

Blount. Not for the world. Vewy pwetty girl this companion! (sits 

L. C.) 

Clara. What did you think of the Panorama the other day, Cousin 
Evelyn 1 

Eve, (reading). 

"I cannot talk with civet in the room, 
A fine puss gentleman that's all perfume !" 
Rather good lines these. 

Blount. Sir ! 

Eve. {offering ihe book). Don't you think so 7 — Cowper. 

Blount, {declining the book), Cowper! 

Eve. Cowper. 

Blount {shrugging his shoidders, to Clara). Stwange person, Mr. Eve- 
lyn ! — quite a chawacter ! — Indeed the Panowama gives you no idea of 
Naples — a delightful place. 1 make it a wule to go there evewy second 
year — I'm vewy fond of twavelling. You'd like Wome (Rome) — bad inns, 
but vewy fine wuins ; gives you quite a taste for that sort of thing ! 

Eve. {reading). 

" How much a dunce that has been sent to roam 
Excels a dunce that has been kept at home !" 

Blount. Sir 1 

Eve. Cowper. 

Blount {aside). That fellow Cowper says vewy odd things ! Humph ! 
it is beneath me to quawwell. {aloud) It Avill not take long to wead the 
will, I suppose. Poor old Mordaunt ! — I am his nearest male welation. 
He was vewy eccentwic. {draws his chair nearer) By the way, Miss 
Douglas, did you wemark my cuwicle ? It is bwinging cuwicles into 
fashion. I should be most happy if you will allow me to dwive you out. 
Nay — nay — I should, upon my word, {trying to take her hand.) 

Eve [starting tip). A wasp! — a wasp! — just going to settle. Take 
care of the wasp. Miss Douglas! 

Blount. A wasp — where ! — don't bwing it this way — some people 
don't mind them I I've a particlar dislike to wasps ; they sting damna- 
bly ! 

Eve. I beg pardon — it's only a gadfly. 

Enter Page, r. 

Page. Sir John will be happy to see you in his studv. Sir Frederick. 

[Exit Page, c. l. 

Blount. Vewy well, (rises and goes r ) Upon my word, there is some- 
thing vewy nice about this girl. To be sure. I love Georgina — but if 
this one would take a fancy to me — [ihoughtftdly) — Weil, I don't see 
what harm it could do me 1 Au plaisir ? [Exit, r. 

Clara takes her chair to r. ofiu. table. 

Eve. Clara! 

Clara. Cousin! {coming forward, i,.) 

Eve. And you, too, are a dependant '? 

Clara. But on Lady Franklin, who seeks to make me forset it. 

Eve. Ay, but can the world forget it ? This insolent condescension — 
this coxcombry of admiration — more galling than the arro2ance of con- 
tempt! Look you now — Robe Beauty in silk and cashmere — hand Vir- 
tue into her chariot — lackey Iheir caprices — wiap them from the winds 
— fence them round with a golden circle — and Virtue and Beauty aie as 



22 MONET. [act I. 

goddesses both to peasant and to prince. Strip theni of the adjunct? — 
see Beauty and Virtue poor—dependant-^solitary — walking; the world 
defenceless I oh, then the devotion changes its character — the same 
crowd gather eagerly around — fools-^fops—libertines — not to worship 
at the slirine, but to sacrifice tl)e victim ! 

Clara. My cousin, you are cruel I — I can smile at the pointless inso- 
lence. 

Evfi. Smile— and he took your hand ! Oh, Clara, you know not the 
tortures that I suffer hourly I When others approach you — young — fair 
—rich-— -the sleek darlings of the world— I accuse you of your very 
beauty-^I writhe beneath every smile that you bestow. (Claua, about to 
speak) No— speak not — my heart has broken its silence, and you shall 
hear the rest. For you I have;endured the weary bondage of this house 
— the fool's gibe— the hireling's sneer — the bread purchased by toils 
that should have led me to loftier ends ; yes, to see you — hear you — 
breathe the same air— be ever at hand — that if others slighted, from one 
at least you might receive the luxury of respect — for this — for this I 
have lingered, suffered, and forborne. Oh, Clara ! we are orphans both 
— friendless both ; you are all in the world to me ; {she turns aivay) turn 
not away^ — my very soul speaks in these words— I love yoit! {kneels.) 

Clara. No — Evelyn-=— Alfred— no ! Say it not; think it not! it were 
madness. 

Eve. Madness !— nay, hear me yet. I am poor, dependant — a beg- 
gar for bread to a dying servant. True! But I have a heart of iron. I 
have knowledge— patience— health— an.d my love for you gives me at 
last ambition ! I have trifled with my own energies till now, for I de- 
spised all things till I loved you. With you to toil for — your step to 
support — your path to smooth — and I — I, poor Alfred Evelyn— promise 
at last to win for you even fame and fortune ! Do not withdraw your 
hand — this hand — shall it not be mine? 

Clara. Ah, Evelyn ! Never — never ! [crosses to r.) 

Eve. Never? [rises.) 

Clara. Forget this folly ; our union is impossible, and to talk of love 
were to deceive both ! 

Eve. [bitterly). Because I am poor ! 

Clara. And / too ! A marriage of privation — of penury — of days that 
dread the morrow ! I have seen such a lot! Never return to this again. 

Eve. Enough — you are obeyed, I deceived myself — ha — ha ! I fan- 
cied that I too was loved. I, whose youth is already half gone with care 
and toil — whose mind is soured — whom nobody can love — who ought to 
have loved no one ! 

Clara (cmde). And if it were only j. to suffer, or perhaps to starve ! 
Oh, what shall I say 1 {aloud) Evelyn — cousin! 

Eve. Madam, 

Clara. Alfred — I — I — ^ 

Eve. Reject me 1 

Clara. Yes. It is past! [IJxU, n. 

Eve. Let me think. It was yesterday her hand trembled when mine 
touched it. And the rose I gave her— yes, she pressed her lips to it 
once when she seemed as if she saw me not. But it was a traj) — a trick 
— for I was as poor then as now. This will be a jest for t!:em all ! 
Well, courage! it is but a poor heart that a coquette's contempt can 
break, [retires up to the table, r.) 

Enter Lord Glossmore, preceded by Page, c. l. 

Page. I will tell Sir John, ray Lord. [Exity r. Evelyn takes up the 
newspaper.) — 



Gloss, the secretary — ^lium ! Fine day, sir ; any news froni the 
east ] 

Eve. Yes-^-all the wise men haVe gone back there ! 

Bbrvan*, C. &., anHoiinccS Mr. STout, ft. 

Gloss. Ha! ha! — not all, for here comes Mr^ Stout> the gr^at politi* 
cal economists 

£7iter Stout, c. l» 

Stout (r. c ). Good morning, Glossmore. 

Gloss, (l.). Glossmore ! — the parvenu ! 

Stopt. Afraid I might be late-^been detained at th6 vestry^^astoft* 
ishlna; how ignorant the JEnglish poor are ! Took me an hour and a 
half to beat it into the head of a stupid old widow^ with nine children, 
that to allow l)er tliree shillings a week was against all rules of public 
morality. (EvelY:^ rise^ and comes domi, R.) 

Eve. Excellent— 'admirablc-^your hand, sir I 

Gloss. What ! you approve such doctrin&Sj Mr. Evelyn 1 Are old 
women only fit to be starved 1 

Eve. Starved ! popular delusion ! Observe, my lord, {crosses, e.) to 
squander money upon those who starve is only to afford encouragement 
to starvation I 

Stout. A very superioi* person that 1 

Gloss. Atrocious principles ! Give me the good old times, when it 
was the duty of the rich to succor the distressed. 

Eve. On second thoughts, yon are rijjht, my lord. 1, too, know a poor 
woman — ill — dying — in want. Shall sAp, too, perish '( 

Gloss. Perish! horrible — in a Christian countrv I Perish I Heaven 
forbid ! 

Eve. (^holding out his hand). What, then, will you give her ? 

Gloss. Ahem ! Sir, the parish ought to give. 

Stout. By no means ! 

Gloss. By all means 1 

Stout. No !— no ! — no ! Certainly not ! {ivith great vehemence.) 

Gloss. No I no ! But I say, yes ! yes ! And if the parish refuse to 
maintain the poor, the only way left to a man of firmness and resolution, 
holding the principles that I do, and adhering to the constitution of our 
fathers, is to force the poor on the parish by never giving them a farth- 
ing one's self. 

Stout. No !— no ! — no ! 

Gloss. Yes ! — yes ! — yes ! 

Eve. Gentlemen ! — gentlemen ! — perhaps Sir John will decide, {point- 
ing to Sill John as he enters, and retires to table, takes up a book, reads.) 

Enter Sir John, Lady Franklin, Georgina, Blount, Page, r. Page 
goes off, c. l. Lady Franklin goes to table, l., and sits. 

Sir J. How d'ye do 1 Ah I how d'ye do, gentlemen 1 This is a most 
melancholy meeting ! The poor deceased ! what a man he was ! 

Blount (r.). I was chwistened Fwederick after him ! He was my 
first cousin. 

Sir J. (c). And Georgina his own niece — next of kin ! an excellent 
man, though odd — a kincl heart, but no liver ! I sent him twice a year 
thirty dozen of the Cheltenham waters. It's a comfort to reflect on 
these little attentions at such a time. 

Stout. And I, too, sent him the parliamentary debates regularly, 



24 MONEY [act I. 

bound in calf. He was ray second cousin — sensible man— and a fol- 
lower of Maltbus ; never married to increase tbe surplus i)opulation, and 
fritter away bis money on bis own cbildren. And now 

Eve. He reaps tiie benefit of celibacy in the prospective gratitude of 
every cousin be bad in the world ! 

Lady F. Ha! ba ! ba! 

Sir J. Hush ! bush 1 decency, Lady Franklin ; decency ! 

Bnter Page, c. l. 

Page. Mr. Graves — Mr. Sharp. 

Sir J. Oh, here's Mr. Graven ; that's Sharp the lawyer, who brought 
the will from Calcutta. 

Enter Mr. Graves, and Mr. Sharp, who goes immediately to h. table, and 
prepares his jjapers. 

Chorics of Siu John, Glossmoke, Blouxt, Stout. Ah, sir — ah, Mr. 
Graves ! (Georgina holds her handkerchiej to her eyes.) 

Sir J. A sad occasion ! 

Graves. But everything in life is sad. Be comforted, Miss Vesey I 
True, you have lost an uncle ; but I — I have lost a wife — such a wife ! — 
the first of her sex — and the second cousin of the defunct ! 

Enter Servants, c. 

Excuse me, Sir John; at the sight of your mourning my wounds bleed 
afresh. (Servants hand round wine and cake.) 

Sir J. Take some refreshment — a glass of wine. 

Graves. Thank you!— (Very fine slierry !) Ah! my poor sainted 
Maria ! Sherry was her wine ! everything reminds me of Maria ! Ah, 
Lady Franklin ! tjon knew her. Nothing in life can charm me now. 
{aside) A monstrous fine woman that ! 

Sir J. And now to business, {they each take a chair) Evelyn, you may 
retire. {AU sit. Servants retire, c. Evelyn rises.) 

Sharp {looking at his notes). Evelyn — any relation to Alfred Evelyn? 
{to Evelyn, ivho is going, c.) 

Evic. The same. 

Shahp. Cousin to the deceased, seven times removed. Be seated, sir; 
there may be some legacy, though trifling; all tbe relations, however 
distant, should be present. (Evelyn reluctantly resumes his seat.) 

Lady F. Then Clara is related — I will go for her. [Exit, r. 

Geor. Ah, Mr. Evelyn ! I hope you will come in for something — a 
few hundreds, or even more. 

Sir J. Silence! Hush! Wugb! Ugh! Attention! 

While the Lawyer opens the will, re-enter Lady Franklin and Clara. They 
cross behind the characters to l., tip the stage, and sit. 

Disposition of Characters. 

Evelyn. Lady Franklin, Clara. 

Sir John. Stout. Glossmore. 

Blount. Georgina. Graves. Sharp. 

R. L. 



ACT I.] 



MONEY. 25 



Shaup. The will is very short — being all personal property. He was 
a man that always came to the point. 

Sir J. I wish there were more like him ! {groans and shakes his Jtead.) 
Sharp {reading). " I, Frederick James Mordaunt, of Calcutta, being, 
at the present date, of sound mind, though infirm body, do hereby give, 
will, and bequeath — Imprimis, To ray second cousin, Benjamin Stout, 
Esq., of Pall Mall, London — (Stout puis a large silk handkerchief to his 
eyes. Chorus exhibit lively emotion) Being the value of the Parliamentary 
Debates with which he has been pleased to trouble me for some time 
past — deducting the carriage thereof, which he always forsrot to pay — 
the sum of £14 2s. 4d." (Stout removes the handkerchief; Chorus breathe 
more freely.) 

Stout. Eh, what 1 — £14 ? Oh, hang the old miser ! 

Sir J. Decency — decency ! Proceed, sir. Go on, sir, go on. 

Sharp. " Item. — To Sir Frederick Blount, Baronet, my nearest male 
relative — " {Chorus exhibit lively emotion.) 

Blount. Poor old boy ! (Georgina j»j«^s her arm over Blount's chair.) 

Sharp. " Being, as I am informed, the best-dressed young gentleman 
in London, and in testimony to the only merit I ever heard he possessed, 
the sum of £500 to buy a dressing-case." {Chorus breathe more freely; 
Georgina catches her father's eye, and removes her arm.) 

Blount {laughing confusedly). Ha! ha! ha! Vewy poor wit — low! — 
vewy — vewy low I 

Sir J. Silence, now, will you 1 Go on, sir, go on. 

Sharp. " Item. — To Charles Lord Glossmore — who asserts that he is 
my relation — my collection of dried butterflies, and the pedigree of the 
Mordaunts from the reign of King John. {Chorus as before.) 

Gloss. Butterflies! — Pedigree! — I disown the Plebeian! 

Sir J. {angrily). Upon my word, this is too revolting ! Decency ! Go 
on, sir, go on. 

Sharp. " Item. — To Sir John Vesey, Baronet, Knight of the Guelph, 
F.R.S., F.S.A., etc." (Chorus as before) 

Sir J. Hush ! Now it is really interesting! 

Sharp. " Who married my sister, and who sen^iS me every year the 
Cheltenham waters, which nearly gave me my death, I bequeath — the 
empty bottles.' 

Sir J. Why, the ungrateful, rascally old 

Lady F. Decency, Sir John — decency ! 

Chorus. Decency. Sir John — decency I 

Sharp. "Item. — To Henry Graves, Esq., of the Albany — " {CJiorus as 
before.) 

Graves. Pooh ! gentlemen — my usual luck — not even a ring, I dare 
swear. 

Sharp. " The sum of £5,000 in the Three per Cents." 

Lady F. I wish you joy! 

Graves. Joy — pooh ! Three per Cents, ! Funds sure to go ! Had 
it been land, now — though only an acre ! — ^just like my luck. 

Sharp. " Item. — To my niece, Georgina "Vesey {chorus as before.) 

Sir J. Ah, now it comes ! 

Sharp. " The sum of £10,000 India Stock, being, with her father's 
reputed savings, as much as a single woman ought to possess." 

SiK J. And what the devil, then, does the old fool do with all his 
noney ? 

Chorus. Really, Sir John, this is too revolting. Decency ! Hush ! 

Sharp. " And, with the aforesaid legacies and exceptions, 1 do will 
md bequeath the whole of my fortune, in India Stock, Bonds, Ex- 
ihequer Bills, Three per Cent. Consols, and in the Bank of Calcutta (con- 



26 MONEY, [act II* 

stituting him hereby sole residuary legatee and joint executor with the 
aforesaid Henry Graves, Esq.), to — Alfred Evelyn, now, or formerly, of 
Trinity College, Cambridge — ^all turn to Evi':lyn; universal excitement. 
Evelyn starts up, closes his book, and casts it upon the table) BeJna, I am 
told, an oddity, like myself — the only one of ray relations who never 
fawned on me ; and who, having known privation, may tlie better employ 
wealth." {all rise. EvKiiYX advances, c, as if in a dream) And now, sir, 
I have only to wish you joy, and give you this letter from the deceased 
— I believe it is important, [gives letter to Evelyn.) 

Eve. (aside). Ah, Clara, if you had but loved me! 

Clara [turning aioay). And his wealth, even more than poverty, sep- 
arates us for ever ! (Omnes crowd round to congratulate Evelyn.) 

Sir J. {aside to Georgina\ Go, child, put a good face on it — he's an 
immense match ! {aloud) My dear fellow, I wish you joy ; you are a 
great man now — a very great man ! I wish you joy. [shakes his hand 
very warmly.) 

Eve. [aside). And her voice alone is silent ! 

Gloss If I can be of any use to you 

Stout. Or I, sir 

Blount. Or I ! Shall I put you up at the clubs 1 

Sharp. You will want a man of business. I transacted all Mr. Mor- 
daunt's affairs. 

Sir J. Tush, tush ! Mr. Evelyn is at home here — always looked upon 
him as a son ! Nothing in the world we would not do for him ! Noth- 
ing! 

EvB. Nothing ! then lend me £10 for my old nurse. ( Chorus put their 
hands in their pockets.) 

CURTAIN. 



ACT II. 

SCENE l.—'An anteroom in Evelyn's new house; Mr. Sharp writing at 
a desk, l., books and parchments before him — Mr. Crimson, the portrait 
painter ; Mr. Grabb, the publisher ; Mr. MacStucco, the architect; 
Mr. Tabouret, the upholsterer ; Mr. MacFinch, the silversmith; 
Mr. Patent, the coachmaker ; Mr. Kite, the horse-dealer; and Mb, 
Frantz, the tailor. 

Patent {to Frantz, showing him a drawing,. Yes, sir ; this is the 
Evelyn vis-a-vis! No one more the fashion than Mr. Evelyn. Money 
makes the man, sir. 

Frantz. But de tailor, de Schneider make de gentleman 1 It is Mr. 
Frantz, of St. James',who take his measure and his cloth, and who make 
de fine handsome noblemen and gentry, where de faders and de mutters 
make only de ugly little naked boys ! 

MacStuc (l. c). He's a mon o' teeste, Mr. Evelyn. He taulks o' 
buying a veela (villa), just to pool down and build oop again. Ah, Mr. 
MacFinch ! a design for a piece of pleete, eh 1 

MacFinch (l., showing the drawing). Yees, sir; the shield o* Alexan- 
der the Great to hold ices and lemonade ! It will coost two thousand 
poon' ! 

MacStuc. And it's dirt cheap — ye're Scotch, arn't ye? 

MacFinch. Aberdounshire ! — scraitch roe, and I'll scraitch you ! 



A.CT II.] MONEY. 27 

Enter Evelyn, c. d. l. 

ilvE. A levee, as usual. Good day. Ah, Tabouret, (Tabouret pre- 
sents a drawing) your designs for tbe dra{)eries ; very -well, {Exit Ta- 
bouret, R.) And what do you want, Mr. Crimson '? 

Crim. (r ). Sir, if you'd let me take your portrait, it would malie my 
fortune. Every one says you're the finest judge of painUngs. 

Eve. Of paintings ! paintings ! Are you sure I'm a judge of paint- 
ings 1 

Crim. Oh, sir, didn't you buy the great Corregio for £4,000 1 

Eve. True — I see. So £4,000 makes me an excellent judge of paint- 
ings. 1 11 call on you, Mr. Crimson — good day. {Exit Crimson, k. Eve- 
lyn turm to the rest who surround him.) 

Kite. Thirty young horses from Yorkshire^ sir ! 

Patent {showing drmving). The Evelyn vis-a-vis ! 

MacFincii {showing drawing). The Evelyn salver ! 

Frantz {opening his bundle, and with dignity). Sare, I have brought de 
coat — de great Evelyn coat. 

Eve. Oh, go to — that is, go home. Make me as celebrated for a vis- 
^-vis, salvers, furniture, and coats, as I already am for painting, and 
shortly shall be for poetry. I resisn myself tD you — 20 ! {crosses, l.) 

[Exeunt MacFinch, Patent, etc., &.* 

Enter Stout, b., he places his hat on r. table. 

Eve. Stout, you look heated ! 

Stout. I hear that you have just bought the great Groginhole prop- 
erty. 

Eve. It is true. Sharp says it's a bargain. 

Stout. Well, my dear friend Hopkins, member for Groginhole, can't 
live another month — but the interests of mankind forbid regret fur indi- 
viduals ! The patriot Poj)kins intends to start for the borough the 
instant Hopkins is dead — your interests will secure his election. Now 
is your time 1 put yourself forward in the march of enlightenment, (turns 
and sees Glossmore) By all that is bigoted, here comes Glossmore ! 
{goes up the stage and listens.) 

I Enter Glossmore, r. Evelyn crosses to meet him. 

Gloss. So lucky to find you at home ! Hopkins, of Groginhole, is not 
j long for this world. Popkins, the brewer, is already canvassing under- 
jhand (so very ungentlemanlike !). Keep your interest for young Lord 
I Cipher — a most valuable candidate. This is an awful moment — the con- 
1 STiTUTioN depends on his return ! Vote for Cipher. 

Stout (l.). Popkins is your man ! 

Eve. {musinghj) . Cipher and Popkins — Popkins and Cipher ! En- 
lightenment and Popkins — Cipher and the Constitution ! I am puzzled! 
Stout, I am not known at Groginhole. 

Stout. Your property' sy^noww there ! 

Evt\ But purity of election — independence of votes 



* The dialogue of this scene, up to this point, is sometimes omitted, and when 
that is the ease, begin thus : — 

I Enter Stout, preceded by a Sbkvant, r, 

Seev. I'll tell my master you -wish to see him. Oh I Mr. Evelyn is here, sir I 

Enter Evelyn, v. 



28 MoNi:t. ' [act 11. 

Stout. To be sure ; Cipher bribes ahominaUy. Frustrate his schemes 
— preserve (he liberties of the boroush — turn every man out of his house 
who votes against enlightenment and Popkins ! 

Eve. Right! — down with those who take the liberty to admire any 
liberty except our liberty ! That is liberty ! 

Gloss. Cipher has a stake in the country — will have £50,000 a year 
— Cipher will never give a vote without considering beforehand how peo- 
ple of £50,000 a year will be affected by the motion. 

Eve. Right! for as without law there would be no property, so to be 
the law for property is the only proper property of law ! Tliat is 
law ! 

Stout. Popkins is all for economy — there's a sad waste of the public 
money — they give the Speaker £5,000 a year, when I've a brother-in- 
law, who takes the chair at the vastry, and who assures me confiden- 
tially he'd consent to be Speaker for half the money ! 

Gloss. Enough, Mr. Stout. Mr. Evelyn has too mucn at stake for a 
leveller. 

Stout. And too much sense for a bigot. 

Gloss. Bigot, sir "? 

Stout. Yes, sir, bigot! 

Eve. Mr. Evelyn has no poUtics at all ! Did you ever play at battle- 
dore ? 

Both. Battledore 1 

Eve. Battledore ! — that is a contest between two parties ; both par- 
ties knock about something with singular skill — something is kept up — 
high — low — here — there — everywhere — nowhere ! How grave are the 
players ! how anxious the bystanders ! how neisy the battledores ! But 
when this something falls to the ground, only fancj' — it's nothing but 
cork and feather! Go, and play by yourselves — I'm no hand at it! 
{crosses, l ) 

Stout {aside). Sad ignorance! — Aristocrat! {crosses to -r. c.) 

Gloss, {aside). Heartless principles ! — Parvenu! (does up the stage.) 

SuouT. Then you don't go against us 1 I'll bring Popkins to-morrow. 
{goes to It. table, gets his hat. ) 

Gloss. Keep yourself free till I present Cipher to you ! 

Stout. I must go to inquire after Hopkins. The return of Popkins 
will be an era in history ! {Exit, r. 

Gloss. I must be off to the club — the eyes of the country are upon 
Grofijinhole. If Cipher fail, the constitution is gone ! {Exit, e, 

Eve. (r. c.). Both sides alike ! Money versus Man ! — poor man ! — 
Sharp, come here — (Shahp advances) let me look at you ! You are my 
agent, ray lawyer, my man of business. I believe you honest ; — but 
what is honesty 1 where does it exist ? — in what part of us 1 

Sharp. In the heart, I suppose, sir ? 

Eve. Mr. Sharp, it exists in the breeches-pocket! {goes to table, s.) 
Observe: I lay this piece of yellow earth on the table — I contemplate 
you botli ; the man there— the gold here. Now, there is many a man 
in those streets honest as you are, who moves, thinks, feels, and reasons 
as well as we do; excellent in form — imperishable in soul ; who, if his 
pockets were three days empty, would sell tliought, reason, body, and 
soul, too, for that little coin ! Is that the fault of the man 1 — no ! it is 
the fault of mankind! God made man; behold what mankind have 
made a god! When I was poor, I hated the world ; now I am rich, I 
despise it ! Fools — knaves — hypocrites ! — By the bye. Sharp, send 
£100 to the poor bricklayer whose house was burned down yesterday. 
(Sharp goea to his desk.) 



4.CT II.] MONEY. 29 

Unter Graves, r. 

Ah, Graves, my dear friend, what a world this is ! 

Gkaves. It is an atrocious world I But astronomers say that there is 
a travelling comet which must set it on fire one day — and that's some 
comfort ! 

Eve. Every hour brings its gloomy lesson — the temper som's — the af- 
fections wither — the heart hardens into stone! — Zounds, Sharp! what 
do you stand gaping there for ? — have you no bowels 1 — why dun't you 
go and see to the bricklayer ! (to Sharp, zvho is standing u. Exit Shakp, 
L.) Graves, of all my new friemls — and their name is Legion — you 
are the only one I esteem ; there is sympathy between us — we take the 
same views of life. I am cordially glad to see you! 

Gkaves {groaning). Ah ! why should you be glad to see a man so 
miserable ? 

Eve {sighs). Because I am miserable myself. 

Gravks. You ! Pshaw ! goti have not been condemned to lose a wife. 
(Graves places his hat on table, l.) 

Eve. But, plague on it, man, I may be condemned to take one ! Sit 
down, and listen, {thcg seat themselves — Ghaves l ) I want a confidant! 
— Left fatherless when yet a boy, my poor mother grudged herself food 
to give me education. Some one had told her thr.t learning was better 
than house and land — that's a lie, Graves 1 

Graves. A scandalous lie, Evelyn ! 

Evic. Oil the strength of that lie I was put to school — sent to college, 
a sizar. Do you know what a sizar is 1 In pride he is a gentleman — 
in knowledge he is a scholar — and he crawls about, amidst gentlemen 
and scholars, with the livery of a pauper on his back 1 I carried off the 
great prizes — I became distinguished— I looked to a high degree, lead- 
ing to a fellowship ; that is, an independence for myself — a home for my 
motlier. One day a young lord insulted me — I retorted — he struck me 
— refused apology — refused redress. I was a sizar ! — a Pariah ! a thing 
— to be struck! Sir, I was at least a man, and I horsewhipped him in 
the hall before the eyes of the whole College ! A few days, and the 
lord's cliastisetnent was forgotten. Tho next day the sizar was expelled 
— the career of a life blasted ! That is th^ diflerence between Rich and 
Poor; it takes a whirlwind to move th^ on? — a breath may uproot the 
other! I came to London. As long as my mother lived, I had one to 
toil for; and I did toil — did hope— tlid struggle to be something yet. 
She died, and then, somehow, my spirit broke — I resigned myself to my 
fate ; the Alps above me seemed too high to ascend — I ceased to care 
what became of me. At last I submitted to be the poor relation — the 
hanger-on and gentleman-lackey of Sir John Vesey. But I had an ob- 
ject in that — there was one in that house whom I had loved at the first 
sight. 

Gravks And were you loved again 1 

EvK. I fancied it, and was deceived. Not an hour before I inherited 
this mighty wealth I confessed my love, and was rejected because I was 
poor. Now, mark : you remember the letter which Sharp gave me 
when the will was read ] 

Gravies. Perfectly ! what were the contents ? 

Eve. After hints, cautions, and admonitions — half in irony, half in 
earnest (Ah, poor Mordaunt had known the world !) it proceeded — but 
I'll read it to you : " Having selected you as my heir, because T think 
money a trust to be placed where it seems likely to be best employed, I 
now — not impose a condition, but ask a favor. If you have formed no 
other and insuperable attachment, I could wish to suggest your choice ; 



30 MONEY, [act II. 

ray two nearest female relations are my niece Georsina, and my tliird 
cousin, Clara Doaslas, the daughter of a once dear friend. If you could 
see in either of these one whom you could make your wife, such would 
be a marriage that, if I live long enough to return to England, I would 
seek to bring about before I die." My friend, this is not a legal condi- 
tion — the fortune does not rest on it ; yet, need I say that my gratitude 
considers it a moral obligation'? Several months have elapsed since 
thus called upon — 1 ought now to decide ; you hear the names — Clara 
Dourjlas is the woman who rejected me. 

Gravies. But now she would accept you ! 

EvB And do you think I am so base a slave to passion, that I would 
owe to my gold what was denied to my affection 1 {rises and puts chair 
by R. table.) 

Graves. But you must choose one, in common gratitude ; you ought 
to do so. (Graves replaces his chair.) 

Eve. Of the two, then, I would rather marry where I should exact the 
least. A marriage, to which each can bring sober esteem and calm re- 
gard, may not be happiness, but it may be content. But to many one 
whom you could adore, and whose heart is closed to you — to yearn for 
the treasure, and only to claim the casket — to worship the statue that 
you never may warm to life. Oh ! such a marriage would be a hell, the 
more terrible because Paradise was in sight, {crosses to r.) 

Graves. Ah, it is a comfort to think, my dear friend, as you are sure 
to be miserable, when you are married, that we can mingle our groans 
together. Georgiiia is pretty, but vain and frivolous. 

Eve. You may misjudge Georgina; she may have a nobler nature 
than appears on the surface. On the day, but before the hour, in which 
the will was read, a letter, in a strange or disguised hand, signed, " From 
an unhwivn friend to Alfred Evchjn,''^ and enclosing what to a girl would 
have been a considerable sum, was sent to a poor woman for whom I had 
implored charity, and whose address I had only given to Georgina. 

Graves. Why not assure yourself? 

Eve. Because I have not dared. For sometimes, against my reason, 
I have hoped that it might be Clara, {talcing a letter from his bosom and 
looking at it) No, I can't recognize the hand. Graves, I detest that girl. 
(^crosses to r. corner and back to l.) 

Graves. Who 7 Georgina? 

Evio. No; Clara! But I've already, thank Heaven, taken some revenge 
upon her. Come nearer, {lohispers) I've bribed Sharp to say that Mor- 
daunt's letter to me contained a codicil leaving Clara Douglas £20,000. 

Graves. And didn't it? 

Eve. Not a farthing. But I'm glad of it — I've paid the money — she's 
no more a dependant. No one can insult her now — she owes it all to me, 
and does not guess it, man — does not guess it— owes it to me — me, whom 
she rejected — me, the poor scholar ! Ha ! ha ! — there's some spite in 
that, eh 1 

GiJAVES. You're a fine fellow, Evelyn, and we understand each other. 
Perhaps Clara may have seen the address, and dictated this letter after 
all ? 

Eve. Do you think so — I'll go to the house this instant ! (crosses to r. 
table for his hat and gloves.) 

Graves. Eh ! Humph ! Then I'll go with you. That Lady Frank- 
lin is a fine woman. If she were not so gay, I think — 1 could 

Eve. No, no ; don't think any such thing ; women are even worse 
than men 

Graves. True ; to love is a boy's madness I 

Evk. To feel is to sufier. 



ACT II.] MONEY. 31 

Graves. To hope is lo be deceived. 
EvK. I have done with romance ! 
Graves. Mine is buried with Maria 1 

Eve. If Clara did but write this 

Gkaves. Make haste, or Ladj^ Franklin will be out ! (Evelyn catches 
his eye ; he changes his tone) A vale of tears — a vale of tears ! 

Eve. a vale of tears, indeed ! [Hxeitnt, r. 

Re-enter Graves /or his hat. 

Graves. And I left my hat behind me ! Just like my luck. If I li;ul 
been bred a hatter, little boys would have come into the world without 
heads. [Exit, r. 

SCENE II. — Drawing-rooms at Sm John Vesey's. an in Act I., Scene I. 

Lady Franklin and Clara, r. 

Lady F. (r.). Ha! ha! ha! talking of marriage, I've certainly made 
a conquest of Mr. Graves. 

Clara (l.). Mr. Graves ! I thought he was inconsolable. 

LadyF. For his Fainted Maria! Poor man! not contented with 
plaguing him while she lived, she must needs haunt him now she is dead. 

Clara. But why does he regret her 1 

Lady F. Why ? Because he lias everything to make him happy — 
easy fortune, good health, respectable character. And since it is his 
delight to be miserable, he takes the only excuse the world will allow 
him. For the rest — it's the way with widowei-s; that is, whenever they 
mean to marry agnin. But, my dear Clara, you seem absent — pale — 
unhappy — tears, too 1 

Clara. No — no— not tears. No ! 

Lady F. Ever since Mr. Mordaunt left you £20,000 every one admires 
you. Sir Frederick is desperately smitten. 

Clara {with disdain). Sir Frederick ! 

Lady F. Ah, Clara, be comforted ! I am certain that Evelyn loves 
you. 

Clara. If he did, it is past now. You alone know the true reason 
why 1 rejected him. You know that if ever he should learn that reason, 
he will acquit me of the selfish motive he now imputes to me. 

£nter Sir John, r.c, and turns over the books, etc., on the table, as if to look 
for tlie newspaper. 

Lady F. Let me only tell him that you dictated that letter — that yon 
sent that money to his old nurse. Poor Clara! it was your little all. 
He will then know, at least, if avarice be your sin. 

Clara. He would have guessed it had his love been like mine. 

Ladv F. Guessed it — nonsense ! The hand-writing unknown to him 
— every reason to think it came from Georgina. 

Sir J. {aside, r., at table). Hum ! Came from Georgina. 

Lady F. Come, let me tell him this. I know the effect it will have 
upon his choice. 

Clara. Choice ! oh, that humiliating word. No, Lady Frankhn, no ! 
Promise me ! 

Lady F. But 

Clara. No 1 Promise — faithfully — sacredly. 
I Lady F. Well, I promise. 



32 MONEY. [act n. 

Clara. I — ^I — forgive me — I am not well. [Hxit, k. 

Lady F. What fools these girls are ! — they take as much pxains to lose 
a husband as a poor widow does to get one ! 

Sir J. Have you seen "The Times" newspaper! Where the deuce is 
the newspaper 1 I can't find " The Times" newspaper. 

Lady F. I think it is in my room. Shall I fetch if? 

SiR J. My dear sister — you're the best creature. Do ! 

[£xit Lady FRAyKHW, r. 
Ugh ! you unnatural conspirator against your own family ! What can 
this letter be 1 Ah ! I recollect something. 

Unter Georgina, r. c. 

Geor. (l.). Papa, I want— 

Sir J. Yes, I know what you want well enough ! Tell me 1 — were 
you aware that Clara had sent money to that old nurse Evelyn bored us 
about the day of the will ? 

Geor. No ! He gave me the address, and I promised, if 

Sib J. Gave you the address ? — that's lucky ! Hush ! 

Unier Page, c. l. 
Page {annmnces). Mr. Graves — Mr. Evelyn. [Exit, c. l. 

Enter Graves and Evelyn, c. l. Evelyn, when he enters, goes to Sir 
John, then converses tvith Georgina, who is seated r. of l. table. 

Lady F. {returning). Here is the newspaper. 

Graves. Ay — read the newspapers [—they'll tell you what this world 
is made of. Daily calendars of roguery and woo ! Here, advertise- 
ments from quacks, money-lenders, cheap warehouses, and spotted boys 
with two heads. So much for dupes and impostors ! Turn to the other 
column — police reports, bankruptcies, swindling, forgery, and a bio- 
graphical sketch of the snub-nosed man who murdered his own three 
little cherubs at Pentonville. Do you fancy these but exceptions to the 
general virtue and health of the nation 1 — Turn to the leading articles ; 
and your hair will stand on end at the horrible wickedness or melan- 
choly idiotism of that half of the population who think dififerently from 
yourself In my day I have seen already eighteen crises, six annihi- 
lations of Agriculture and Commerce, four overthrows of the Church, 
and three last, final, awful, and irremediable destructions of the entire 
Constitution. And that's a newspaper ! 

Lady F. (r. c). Ha ! ha ! your usual vein ; always so amusing and 
good-humored ! 

Graves (l. c, frowning and very angrij). Ma'am — good-humored! 

Lady F. Ah, you should always wear that agreeable smile ; you look 
so much younger — so much handsomer — when you smile ! 

Graves {softened). Ma'am — {aside) A charming creature, upon my 
word! 

Lady F. You have not seen the lastP^«wc7^ 7 It is excellent. I think 
it might make you Imigh. But, by the bye, I don't think you can laugh. 

Graves. Ma'am — I have not laughed since the death of my sainted 
Ma 

Lady F. Ah ! and that spiteful Sir Frederick says you never laui^h, 
because— But you'll be angry ? 

Graves. Angry ! — pooh ! I despise Sir Frederick too much to let 



ACT II.] MONEY. 33 

anythino; he says have tlie smallest influence over me I lie says I don't 
laugh, because 

Lady F. You have lost your front teeth. 

Graves. Lost my front teeth! Upon my word! Ha! ha! ha I 
That's too good — capital ! Hal ha I ha ! {laughing from ear to ear.) 

Lady F. Ha! ha! ha! [Exeunt Lkt)y Fkask-lis and <jrk\zb, c. 

Eve. {aside, at r. table). Of course Clara will not appear ! avoids me 
as usual ! But what do I care? — what is she to me 1 Nothing ! 

Sir J. {to Georgina^. Yes — yes — leave me to manage ; you took his 
portrait, as I told youl 

Geor. Yes — but I could not catch the expression. I got Clara to 
touch it up. 

Sir J. That girl's always in the way. (Page /row c. l. amiounces Cap- 
tain Dudley Smooth.) 

Enter Captain Dudley Smooth, c. l. 

Smooth. Good morning, dear John. Ah, Miss Vesey, you have no 
idea of the conquests you made at Almack's last night. 

Eve. {examining him curiously ivhile Smooth is talking to Georgina at 
L. table). And tliat's the celebrated Dudley Smooth ! 

Sir J. (r. c). More commonly called Deadly Smooth !— the finest 
player at whist, ecarte, billiards, chess, and picquet. between this and 
the Pyramids — the sweetest manners ! — always calls you by your Chris- 
tian name. But take care how you play at cai'ds with him ! 

Eve. He does not cheat, I suppose 1 

Sir J. Hist ! No ! — but he always wins ! He's an uncommonly 
clever fellow ! 

Eve. Clever 1 yes ! When a man steals a loaf we cry down the 
knavery — when a man diverts his neighbor's mill-stream to grind his 
own corn, we cry up the cleverness ! And every one courts Captain 
Dudley Smooth ? 

Sir J. Why, who could oflfend him 1 — the best-bred, civilest creature 
■ — and a dead shot ! There is not a cleverer man iu the three king- 
doms. 

Eve. a study — a study ! — let me examine him ! Such men are living 
satires on the world, [rises.) 

Smooth {passing his arm caressingly over Sir John's shoulder). My dear 
John, how well you are looking ! A new lease of life I Introduce me 
to Mr. Evelyn. 

Eve. Sir, it's an honor I've long ardently desired, {crossses to him — 
they bow and shake hands. Page announces Sir Frederick Blount.) 

Enter Sir Frederick Blount, c l. 

Blount. How d'ye do, Sir John ? Ah, Evelyn — I wished so much to 
see you. {takes Evelyn's arm and draivs him to^vards l. c.) 

Eve. 'Tis my misfortune to be visible ! 

Blount. A little this way. You know, perhaps, that I once paid my 
addvvesses to Miss Vesey ; but since that vewy eccentwic v/ill Sir John 
has shuffled me off, and hints at a pwior attachment — {aside) which I 
know to be false. 

Eve. {seeing Clara). A prior attachment! — Ha! Clara! Well, an- 
other time, ray dear Blount. 

Enter Clara, b. She teats herself l. of r. tabl*. 



34 MONKY. [act II. 

Blount. Stay a moment. Why are you in such a howwid liuwwy 1 
I want you to do me a favor with regaid to Miss Douglas. 

Eve. Miss Douglas ! 

Blount. It is whispered about that you mean to pwopose to Geor- 
gina. Niiy, Sir John more than hinted that was her pwior attachment ! 

Eve. Indeed ! 

Blount. Yes. Now, as you are all in all with the family, if you 
could say a word for me to Miss Douglas, I don't see what harm it could 
do me ! 

Eve. 'Sdeath, man ! speak for yourself ! you are just the sort of man 
for young ladies to like — they understand you — you're of their own 
level. Pshaw ! you're too modest — you want no mediator ! 

Blount. My dear fellow, you flatter me. I'm well enough in my 
way. But you, you know, would cawwy evewything before you — you're 
so confoundedly wich ! 

Eve. You really think so, and you wish me to say a word for you 
to Miss Douglas 1 (he takes Blount's arm and tvalks him to Clara) 
Miss Douglas, what do you think of Sir Frederick Blount 1 Observe 
him. He is well dressed — young — tolerably handsome — (Blount bow- 
ing) bows with an air — has plenty of Smalltalk — evon-ything to capti- 
vate. Yet he thinks that, if he and I were suitors to the same lady, I 
should be more successful because I am richer. What say you I Is 
love an auction ;' — and do women's hearts go to the highest bidder 1 

Clara. Their hearts — no ! 

Eve. But their hands — yes ! {she turns away) You turn away. Ah, 
you dare not answer that question ! (Blount crosses to Clara, Smooth 
and Siu John go up the stage ; Evelyn goes to Georgina, at l. table.) 

Blount. I wisli you would take my opewa-box next Saturday — 'tis 
the best in the house. I'm not wich, but I spend what I have on myself. 
I make it a wule to have everything of the best in a quiet way. Best 
opewa-box — best dogs — best horses — best house in town of its kind. I 
want nothing to complete my establishment but the best wife. 

Claua. Oh, that will come in time. 

Geor. {aside). Sir Frederick flirting with Clara? I'll punish him for 
his peifidy. {aloud) You are the last person to talk so, Mr. Evelyn — you, 
whose wealth is your smallest attraction — you, whom every one admires 
— so witty, such taste, such talent ! Ah, I'm very foolish. 

Sir J. {clapping Evelyn on the shoidder). You must not turn my little 
gii I's head. Oh, you're a sad fellow I Apropos, I must show you 
Georgina's last drawings. She's wonderfully improved since you gave 
her lessons in perspective. 

Geor. No, papa! No, pray, no ! Nay, don't! 

Sir J. Nonsense, cliild — it's very odd, but she's more afraid of you 
than of any one ! {goes to the folio stand.) 

Smooth {aside). He's an excellent father, our dear John I and sup- 
plies the place of a mother to her. {lounges off, c.) 

Clara [aisde). So, so — he loves her I Misei-y — misery ! But he shall 
not perceive it. No, no! {aloud) Ha, ha! Sir Frederick — excellent! 
excellent! You are so entertaining. (Sir John brings a portfolio and 
places it on the tabic ; Evelyn rr^f/ Georgina look over the drawings ; Sir 
John leans over them ; Sir Frederick converses ivith Claha ; Evklyn 
watching them. ) 

Eve Beautiful ! — a view from Tivoli. (Death— she looks down while 
he speaks lo her !) Is there a little fault in that coloring % (she positively 
blushes) But this Jupiter is superb. (What a d — d cocoxcomb it is V) 
{rising) Oh, she certainly loves him'— I too, can be loved elsewhere — I, 
too, can tee smiles and blushes on the face of another. 



ACL" JI.] IVIONEY. 35 

Geor. Are you not well ? {fjnmg 'o him, l. c.) 

Eve. I beg pardon. Yes .\ on ; no indeed improved. Ah, who so 
accomplished as Miss Vescy 1 {re rs ivUh her to the table ; taking up a 
portrait) Why, what is this 7— uiy -..■,•; 

Geok. You must not look aL tuat — you must not, indeed. I did not 
know it was there. 

Sir J. Your own portrait, Evelyn ! Why, child, I was not aware you 
took likenesses — that's something new. Upon my word it's a strong 
resemblance. 

Gkor. Oh, no — it does not do him justice. Give it to me. I will 
tear it. {aside) That odious Sir Frederick ! 

Eve. Nay you shall not. (Clara looks at him reproachfully, then talks 
with Sir Fredrkick) But wliere is the new guitar you meant to buy, 
Miss Vesey — the one inlaid with tortoise shell 'i It it nearly a year 
since you set your heart on it, and I don't see it yet. 

Sir J. (r. c, taking him aside, conJidentiaUij) The guitai" — oh, to tell 
you a secret — she applied the money I gave her for it to a case of char- 
ity several months ago — the very day the will was read. I saw the let- 
ter lying on the table, with the money in it. Mind, not a word to her— 
she'd never forgive me. 

Eve. Letter — money ! What was the name of the person she relieved 
— not Stanton 1 

Sir J. I don't remember, indeed. 

Evb. {taking out letter). This is not her hand ! 

Sir J. No ! I observed at tlie time it was not her hand, but I got out 
from her that she did not wish tlje thing to be known, and had employed 
some one else to copy it. May 1 see the letter 1 Yes, I think this is 
the wordinjT. Still, how did she know Mrs. Stanton's address 7 

Evr. I gave it to her, Sir John. 

Clara {at the distance). Yes, I'll go to the opera, if Lady Franklin 
will — on Saturday, then, Sir Frederick. (Blount bows to Clara and 
goes off, c. L. ) 

Eve. Sir John, to a man like me, this simple act of unostentatious 
generosity is worth ail the accomplishments in the world. A good heart 
— a tender disposition — a charity that shuns the day — a modesty that 
blushes at its own excellence — an impulse towards something more di- 
vine than Mammon ; such are the true accomplishments which preserve 
beauty for ever young. Such I have sought in the partner I would take 
for life — such have I found — alas ! not where I had dreamed ! Miss 
Vesey, I will be honest. (Miss Vesky advances, l. u.) I say then, frankly 
— [raising his voice, as Claiia approaches, and looking Jixedly at her) — I have 
loved another — deeply — truly— bitterly — vainly I I cannot offer to you, 
as I did to her. the fair first love of the human heart — rich with all its 
blossoms and its verdure. But if esteem — if gratitude — if an earnest re- 
solve to conquer every recollection that would wander from your image: 
if these can tempt you to accept my hand and fortune, my life shall be 
a study to deserve your confidence, {during this speech GEORomA has 
advanced, l., Clara to a chair r. of l. table ; Clara sits motionless, clasping 
her hands.) 

Sir J. The happiest day of my life. (Clara/a//.? back in her chair.) 

Eve. {darling forward, aside). She is pale ; she faints. What have I 
done 7 Oh, Heaven! {aloud) Clara! 

Clara {rising tvith a smile). Be happy, my cousin — be happy ! Yes, 
with my wiiole heart I say it — be happy, Alfred Evelyn ! (she sinks again 
into the chair, overcome by emotion ; the rest form a picture of consternation 
and selfish Joy.) 

CUBTAIN. 



36 MONEY. [act III. 



ACT III. 

SCENE I. — Tlie drawing-rooms in Sir John Vesey's house, as before. The 
furniture arranged for the change to the next scene. 

Sir John and Georgina discovered, c. 

Sir J. And he has not pressed you to fix the wedduig-day ? 

Geor. No ; and since he proposed he conies here so seldom, and 
seems so gloomy. Heigho ! Poor Sir Frederick was twenty times more 
amusing. 

Sir J, But Evelyn is fifty times as rich. 

Geor. But do you not fear lest he discover that Clura wrote the let- 
ter ] 

Siii J. No ; and I shall get Clara out of the house. But there is some- 
thing else that makes me very uneasy. You know that no sooner did 
Evelyn come into possession of his fortune than he launched out in the 
style of a i)rince. His house in London is a palace, and he has bought 
a great estate in the country. Look how he Hves. Balls— banquets — 
fine arts — fiddlers — charities — and the devil to pay I 

Geou. But if he can afford it 

Sir J. Oh ! so long as he stopped there I had no apprehension ; but 
since he proposed for you be is more extravagant than ever. They say 
he has taken to gambling; and he is always with Captain Smooth, No 
fortune can stand Deadly Smooth ! If he gets into a scrape he may fall 
off from the settlements. We must press the marriage at once. 

Geor. Heigho ! Poor Frederick ! You don't think he is really attach- 
ed to Clara ? 

Sir J. Upon my word I can't say. Put on your bonnet, and come to 
Storr and Mortimer's to choose the jewels. 

Geor. The jewels — yes — the drive will do me good. 

Sir J. Tell Clara to come to me. {exit Georgina, r.) Yes. I must 
press on this marriage. Georgina has not wit enough to manage him — 
at least till he's her husband, and then all women find-it smooth sailing. 
This match will make me a man of prodigious importance ! I suspect 
he'll give me up her ten thousand pounds. I can't think of his taking 
to gambling, for I love him as a son — and I look on his money as my 
own. 

Enter Clara, r. 

Sir J. Clara, my love ! 

Clara. Sir 

Sib J. My dear, what I am going to say may appear a little rude and 
unkind, but you know my character is frankness. To the point then ; 
my poor child, I am aware of your attachment to Mr. Evelyn 

Clara. Sir ! my attachment ? 

Sir J. It is generally remarked. Lady Kind says you are falling 
away. My poor girl, 1 pity you — I do, indeed, (Clara weeps) My dear 
Clara, don't take on so ; I would not have said this for the world, if I 
was not a little anxious about my own girl. Georgina is so unhappy at 
whiit every one says of your attachment 

Clara. Every one 1 Oh, torture ! 

Sir J. That it preys on her spirits — it even irritates her temper ! In 
a word, I fear these little jealousies and suspicions will tend to embitter 
their future union. I'm a father — forgive me. 

Clara. What would you have me do, sirl 

Sir J. Why, you're now independent. Lady Franklin seems resolved 



ACT III.] MU>'EY. o7 

to stay in town. You are your own mistress. Mrs. Carlton, aunt to my 
late wife, is going abroad for a short time, and would be delighted if you 
would accompany her. 

Clara. It is the very favor I would have asked of you. {aside) I shall 
escapa at least the struggle and the shame, [aloud) When does she go ? 

Sir J. In five days — next Monday. — You forgive me ? 

Clara. Sir, 1 thank you. 

Sir J. Suppose, then, you write a line to her yourself, and settle it at 
once 7 

Takes Clara to table, l., as the Page enters c. l. 

Page. The carriage, Sir John ; Miss Vesey is quite ready. 

Sir J. Very well, James. If Mr. Serious, the clergyman, calls, say 
I'm gone to the great meeting at Exeter Hall; if Lord Spruce calls, say 
you believe I'm gone to the reheaisal of Cinderella. Oh ! and if Mac- 
Finch should come (MacFinch who duns me three times a week), say 
I've hurried off to Garraway's to bid for the great Bulstrode estate. 
Just put the Duke of Lofty's card carelessly on the hall table, {exit Ser- 
vant, R. c.) One must have a little management in this world. All hum- 
bug ! — all liumbug, upon my soul ! [Exit, c. l. 

Clara {folding the letter). There, it is decided ! A few days, and we 
are parted for ever ! — :i few weeks, and another will bear his name — his 
wife! Oh, happy fate ! She will have the right to say to him — though 
the whole world should hear her — " 1 am thine!" And I embitter tl>eir 
lot ! And yet, Alfred ! if she loves thee — if she knows thee — if she 
values thee — and, when thou wrong'st her, if she can forgive, as I do — I 
can bless her when far away, and join her name in my prayer for thee 1 

Eve. [without). Miss Vesey just gone! Well, I will write a line. 

Enter Evelyn, c. i.., preceded by Page, who exits immediately, c. l. 

Eve. {aside). So — Clara ! {she rises, crosses to r.) Do not let me disturb 
you, Miss Douglas. 

Clara [going, r.). Nay, I have done. 

Eve. I see that my presence is always odious to you ; it is a reason 
why I come so seldom. But be cheered, madam ; I am here but to fix 
the day of my marriage, and I shall then go into tlie country — till — till 
— In short, this is the last time my visit will banish you from the room 
I enter, {he places his hat on table, l.) 

Clara {aside). The last time ! — and we shall then meet no more ! 
And to thus part forever — in scorn — in anger — I cannot bear it ! {ap- 
proaches him) Alfred, my cousin, it is true, this may be the last time we 
shall meet — I have made my arrangements to quit England. 

Eve. To quit England ? {cames forward, l.) 

Clara. But before I go let me thank you for many a past kindness, 
which it is not for an orphan easily to forget. 

Eve {mechanically). To quit England 1 

Clara. Yes, and now that you are betrothed to another — now, with- 
out recurring to the past — something of our old friendship may at least 
return to us And if, too, I dared, i have that on my mind which only 
a friend — a sister — might presume to say to you. 

Eve. {moved). Miss Douses — Clara— if there is aught that I could do 
— if, while hundreds — strangers — beggars tell me that I have the power, 
by opening or shutting this worthless hand, to bid sorrow rejoice, or 
poverty despair — if — if ray life — my heart's blood — could render to yoit 
one such service as my gold can give to others — why, speak ! — and the 
past you allude to— yes, even that bitter past — I will cancel and forget. 



38 MONEY. 



ACr III. 



Clara {Jiolding out her hand). We are friends, then! (Evelyn takes 
her hand) You are again my cousin ! — my brother ! 

Eve. {dropping her hand). Brother ! Ah ! say on ! 

Clara. 1 speak, then, as a sister — herself weak, inexperienced — viight 
speak to a brother, in whose career she felt the ambition of a man. On! 
Evelyn, when you inherited this vast wealth 1 pleased myself with imag- 
inin^i how you would wield the power delegated to your hands. 1 knew 
your benevolence — your intellect — your genius ! I saw before me liie 
nobJe and bright career open to you at last — and I often thought that, 
in after years, when far away — as I soon shall be — I should hear your 
name ideutified, not with what fortune can give the base, but witli deeds 
and ends to which, for the great, fortune is but the instrument ; — I often 
thought that I should say to my own heart— weeping proud and deli- 
cious tears — " And once this man loved me !" 

Eve. No more, Clara ! — Oh, heavens ! — no more! 

Clara. But has it been so ? — have you been true to your own self ? — 
Pomp — parade — luxuries — pleasures — follies ! — all these might distin- 
guish others — they do but belie the ambition and the soul of Alfred 
Evelyn. Oh ! pardon me — I am too bold — [ pain — I offend you. — Ah ! I 
should not have dared thus much had I not thought at times, that — 
that 

Eve. That these follies — these vanities — this dalliance with a loftier 
fate were your own work ! You thought that, and you were right ! 
Perhaps, indeed, after a youth, steeped to the lips in the hyssop and gall 
of penury — perhaps I might have wished royally to know the full value 
of that dazzling and starry life which, from the last step in the ladder, I 
had seen indignantly and from afar. But a month — a week, would have 
sufficed for that experience. Experience !~0h, how soon we learn that 
hearts are as cold and souls as vile — no matter whether the sun shine on 
the noble in his palace, or the rain drench the rags of the beggar cower- 
ing at the porch. But you — did not you reject me because [ was poor ? 
Despise me, if you please ! — my revenge might be unworthy — I wished 
to show you the luxuries, the gaud, the splendor I thought you prized — ■ 
to surround with the attributes your sex seems most to value — the sta- 
tion that, had you loved me, it would have been yours to command. 
But vain — vain alike my poverty and ray wealth! You loved me not in 
either, and my fate is sealed! 

Clara. A happy fate, Evelyn ! — you love ! 

EvK. And at last I am beloved, {after a pause, and turning to her 
abruptly) Do you doubt it ? 

Cr.ARA. No, I believe it firmly ' — And, now that there is nothing un- 
kind between us — not even regret — and surely {with a smile) not re- 
venue, my cousin, you will rise to your nobler self ! — and so, farewell ! 
{going, r ') 

Eve. No; stay, one moment; — you still feel interest in my fatel 
Have I been deceived *? Oh, why — why did you spurn the heart whose 
offerings were lavished at your feet ? Could you still — still 1 Dis- 
traction — T know not what I say ;— my honor pledged to another — my 
vows accepted and returned ! Go. Clara, it is best so ! Yet you will 
miss some one, perhaps, more tlian me — some one to wl-^ose follies you 
have been more indulgent — some one to whom you would permit a yet 
tenderer name than that of brother ! {goes to tnble, l.) 

Clara {aside). It will maue iiim, perhaps, hapi)ier to think it ! {aloud) 
Think so, if you will ! — but part friends. 

Eve. Friends — and that is all! Look you — this is life! The eyes 
tliat charmed away every sorrow — the hand whose lightest touch thrill- 
ed to the very core — the voice that, heard afar, filled space as with an 



ACT III.] MONEY. 39 

angel's music — a year — a monLb, a day, and we smile that we could 
dream so idly. All — all — the sweetest enchantment, known but once, 
never to return again, vanished from the world ! And the one who for- 
gets the sooneat — the one who robs your earth for ever of its sunshine — 
couies to you with a careless lip, and says — " Let us part friends !" — 
Go, Ciara — ^o — and be happy if you can ! ( falls into a chair at l. table.) 

Claua {iveeping). Cruel — cruel — to the last ! [Exit, r. 

Eve. {rises}. Soft ! let me recall her words, her tones, her looks. — 
Does she love me ? There is a voice at my heart which tells me I have 
been the rash slave of a jealous anger. But I have made my choice — I 
must abide the issue, {retires and sits at r. table.) 

Enter Graves, preceded hy Page, l. c. 

Page, Lady Franklin is dressing, sir. 

Graves. VVell, I'll wait, i^exit Page, r.) She was worthy to have 
known the lost Maria ! So considerate to ask me hither — not to console 
me, that is impossible — but to indulge the luxury of woe. It will be a 
mournful scene, {seeing Evelyn) Is that you, Evelyn? I have just 
heard that the borough of Broginhole is vacant at last. Why not stand 
yourself — with your property you might come in without even a per- 
sonal canvass. 

Eve. I, who despise these contests for the color of a straw, {aside) And 
yet. Claia spoke of ambition. She would regret me if I could be distin- 
guished, {rises, aloud) You are right, Graves, to be sure, after all. An 
Enolishraan owes something to his country. 

Graves (l.). He does, indeed, {counting on his Jingers) East winds, 
Fogs, Rheumatism, Pulmonary Complaints, and Taxes, (Evklyn walks 
about in disorder) Oh ! you are a pretty fellow. One morning you tell 
me you love Clara, or at least detest her, which is the same tiling (poor 
Maria often said she detested me), and that very afternoon you propose 
to Georgina, 

Eve. Clara will easily console herself — thanks to Sir Frederick ! 

Graves. Nevertheless, Clara has had the bad taste to refuse an offer 
from Sir Frederick. I have it from Lady Fianklin, to whom he con- 
fided his despair in re-arranging his neck-cloth. 

Eve. My dear friend — is it possible ? 

GnAVES. But what then ? You must marry Georgina, who, to believe 
Lady Franklin, is sincerely attached to — your fortune. Go and hang 
yourself, Evelyn ; you have been duped by them. 

Eve. By them — bah ! If deceived, I have been my own dupe. Is it 
not a strange thing that in matters of reason— of the arithmetic and 
logic of life — we are sensible, shrewd, prudent men ; but touch our 
hearts — move our passions — take us for an instant from the hard safety 
of worldly calculation — and the philosopher is duller than the fool % 
{crosses, l.) Duped — if I thought it — but Georgina "? 

Graves. Plays affection to you in the afternoon, after practising with 
Sir Frederick in the morning. 

Eve. On your life, sir, be serious ; what do you mean ? 

Gravks. That in passing this way I see her very often walking in the 
square with Sir Frederick. 

Eve. Ha ! say you so ? 

Graves. VVIiat then 1 Man is born to be deceived. You look ner- 
vous — your hand trembles; that comes of gaming. They say at the 
clubs that you play deeply. 

Eve. Ha ! ha ! Do they say that ? a few hundreds lost or won — a 
cheap opiate — anything that can lay the memory to sleep. The poor 



40 MONEY. [act III. 

man drinks, and the rich man gambles — llie same motive to both. But 
you are right — it is a base resource — I will play no more. 

Graves. I am delighted to hear it, for your friend Captain Smooth 
has ruined half the young heirs in London. Even Sir John is alarmed. 
I met him just now in Pall Mall. By-the-bye, I forgot — do you bank 
with Flash, Brisk, Credit and Co. 1 

Eve. So, Sir John is alarmed, (aside) Gulled by this cogging charla- 
tan ? Aha! I may beat him yet at his own weapons, {aloud) Humph! 
Bank with Flash ! Wliy do you ask mel 

Graves. Because Sir John has just heard that they are in a very bad 
way, and begs you to withdraw anything you have in their hands. 

Eve. I'll see to it. So Sir John is alarmed at my gambling? 

Graves. Terribly ! He even told me he should go himself to tho 
club this evening, to watch you. 

Eve. To watcii me — good — I will be there ! 

Graves. But you will promise not to play 1 

Eve. Yes — to play. 1 feel it is impossible to give it up. 

Graves. No — no ! 'Sdeath, man ! be as wretched as you please ; 
break your heart, that's nothing ! but damme, take care of your pockets. 

Eve. Hark ye. Graves — if you are right, I will extricate myself yet. 
The duper shall be duped, in the next twenty-four hours. I may win 
back the happiness of a life. Oh ! if this scheme do but succeed 1 

Graves. Scheme! What scheme? (Evelyn takes his hat from l. 
taUe.) 

Eve. Yes, I will be there — I will play with Captain Smooth — I will 
lose as much as I please — thousands — ^millions — billions ; and if he pre- 
sume to spy on my losses, hang me, if I don't lose Sir John himself into 
the bargain ! [going out and returning) I am so absent. What was the 
bank you mentioned'? Flash, Brisk and Credit? Bless me, how un- 
lucky ! and it's too late to draw out to-day. Tell Sir John I'm very 
much obliged to him, and he'll find me at the club any time before day- 
break, hard at work with my friend Smooth. {^Exit, c. l. 

Gravks. He's certainly irazy ! but I don't wonder at it. What the 
approach of the dog-days is to the canine species, the approach of the 
honeymoon is to the human race. 

Enter Servant, r, 

■ Ser. Lady Franklin's compliments — she will see you in the houdoir, 
sir. 

Graves. In i\\e boudoir ! — go — go — I'll come directly, {exit Servant, 
R.) My heart beats — it must be for grief. Poor Maria ! {searching his 
pockets for his handkerchief) Not a white one — just like my luck ; I call 
on a lady to talk of the dear departed, and I've nothing about me but a 
cursed gaudy, flaunting, red, yellow and blue abomination from India, 
which it's even indecent for a disconsolate widower to exhibit. Ah ! 
Fortune never ceases to torment the susceptible. The boudoir — ha — ha ! 
the boudoir! [Exic, r. 

SCENE II. — A boudoir in the same house. Two chairs brought on by a 
Page, who goes off, l. 

Enter Lady Franklin, l. 

Lady F. What if my little plot does not succeed ? The man insists 
on being wretched, and I pity him so much that I am determined to 



ACT III.] MONEY. 41 

make him happy ! Ha ! ha ! ha ! He shall laugh, he shall sing, he 
shall dance, he shall — {composes herself ) Here he comes ! 

Enter Graves, k. 

Graves {sighing). Ah, Lady Franklin ! 

Lady F. \ sighing). Ah, Mr. Graves I {they seat themselves) Pray excuse 
me for having kept you so long. Is it not a charming day 1 

Graves. An east wind, ma'am ! but nothing comes amiss to you — 'tis 
a happy disposition ! Poor Maria ! she, too, was naturally gay. 

Lady F. Yes, she was gay. So much life, and a great deal of spirit. 

Graves. Spirit 1 Yes — nothing could master it ! She ivould have 
her own way. Ah ! theie was nobody like her ! 

Lady F. And then, when her spirit was up, she looked so handsome ! 
Her eyes grew so brilliant ! 

Graves. Did not they ? — Ah ! ah ! ha ! ha ! ha ! And do you re- 
member her pretty trick of stamping her foot 7 — the tiniest little foot — 
1 think I see her now. Ah ! this conversation is very soothing ! 

Lady F. How well she acted in your private theatricals ! 

Graves. You remember her Mrs. Oakley, in " The Jealous Wife 1" 
Ha ! ha! how good it was ! — ha ! ha ! 

Lady F. Ha ! ha ! Yes, in the very first scene, when she came out 
with {mimicking) " Your unkindness and barbarity will be the death of 
me !" 

Graves. No — no ! that's not it ! more energy, {mimiching) " Your 
unkindness and barbarity will be the death of me !" Ha ! ha 1 I ought 
to know how she said it. for she used to practice it on me twice a day. 
Ah! poor dear lamb ! {ivipes his eyes.) 

Lady F. And then she sang so well ! was such a composer ! What 
was that little air she was so fond of ? 

Gravks. Ha ! ha ! sprightly, was it not 1 Let me see — let me see. 

Lady F. {humming). Turn ti — ti turn — ti — ti— ti. No, that's not it! 

GRAVES {humming). Turn ti — ti — turn ti — ti — Lum — tum — tum. 

Both. Tum ti — ti — tum ti — ti — tum — tum — tum. Ha ! ha ! 

Graves {throwing himself back). Ah ! what recollection it revives I It 
is too affecting. 

Lady F. It /s affecting ; but we are all mortal, {sighs) And at your 
Christmas party at Cyprus Lodge, do you remember her dancing the 
Scotch reel with Captain MacNaughten ? 

Gravks. Ha ! ha ! ha ! To be sure — to be sure. 

Lady F. Can you think of the step 1 — somehow thus, was it not 1 
(dancing.) 

Graves. No — no — quite wrong! — just stand there. Now then — 
{humming the tune) La — la-la-la — La-la, etc. {theg dance) That's it — ex- 
cellent — admirable ! 

Lady F. {aside). Now 'tis coming. 

Enter Siu John, Blount, Georgtna, r. Theg stand amazed. Lady 
Franklin continues dancing. 

Graves. Bewitching — irresistible ! 'Tis Maria herself that I see be- 
fore me! Thus — thus — let me clasp Oh, the devil! Just like my 

luck ! {stopjjing opposi'e Sir John. Lady Franklin runs q^, l.) 

Sir J. Upon my word, Mr. Graves ! 

Geor. and Blount. Encore — encore ! Bravo — bravo ! 

Graves. It's all a mistake ! I — I — Sir John. Lady Franklin, you 



42 MONEY. [act III. 

see — that is to sa}' — I Sainted Maria ! you are spared, at least, this 

affliction ! [Huns off, r. 

Sir John, Geoegina, and Blount follow. Page takes off the chairs, l. 

SCENE III.— The interior o/* * * *'« Club; night; lights, etc., etc.* 

Noise of conversation before the act-drop rises — murmurs as it ascends. 

Gloss. You don't often come to the Club, Stout 7 

Stout. No ; time is money. An hour spent at a club is unproductive 
capital. 

Old Member {reading the newspaper). Waiter ! the snuff-box. (Waiter 
brings a large round box on a salver.) 

Gloss. So, Evelyn has taken to play ? I see Deadly Smooth, " hush- 
ed in grim repose, awaits his evening prey." Deep woric to-night, 1 
suspect, for Smooth is drinking lemonade — keeps his head clear — mon- 
strous clever dog ! (jnurmurs as before ; Stout takes the snuff-box from 
Old Member's table ; Old Member looks at him savagchj.) 

Enter Evelyn ; salutes and shakes hands with different Members in jjccssing 
up the stage ; places his hat on table, c. 

Eve. Ha, Flat, how well you are looking !— Green, how do you do 1 
How d'ye do, Glossmorc '! How, arc you, SLout ? i/ou don't i)lay, I 
think? Political Economy never plays at card.^, eh V — never has time 
for anything more frivolous than Rents and Profits, Wages and Labor, 
High Prices, and Low — Corn-Laws, Poor-Laws, Tithes, Currency, — Dut- 
and-go-one — Rates, Puzzles, Taxes, Riddles, and Botheration ! Smooth 
is the man. Aha! Smooth, Piquet, eh 1 You owe me my revenge! 
{sits to play, l, of u. table ; Mkmbers touch each other significantly.) 
Smooth, My dear Alfred, anytiiing to oblige, {murmurs.) 
Old Mf.m. Waiter! the snuff-box. (Waiter takes it from Stout and 
brings it back to Old Membeu. Two Members from the top, l., come down 
and cross behind to Member r. of centre table, whisper to him and go off, c. 
Waiter brings coffee to Member behind the Old Membeu, and then takes 
away two coffee cups from Lord Glossmore and Member, r. c. Another 
Waiter brings a glass of brandy and water to Old Member. Having made 
the cards, Smooth deals.) 

Enter Blount, c. ; he goes to Evelyn's table, and stands in front of it for a 

moment. 

Blount. So ! Evelyn at it again — eh, Glossmore 1 
Gloss. Yes ; Smooth sticks to him like a leech. Clever fellow, that 
Smooth, {murmurs. BiUOotr and EvEhYH play.) 
Smooth. Your point 7 
EvE, Five! 

Smooth. Not good. Six — sequence — five ! 
EvE. Good! 
Smooth. Three aces. 

Eve. Good! {i hey continue playing ; Evelyn <fea/s.) 
Blount. Will you make up a wubber? 
Gloss. Have you got two others'? 
Blount. Yes ; Flat and Green. 

* Eor full disposition of this scene and characters as discovered, see the Synopsis 
of Scenery, page 3. 



ACT III.] ^ MONEY. 43 

Gloss. Bad players. 

Blouxnt. I make it a wule to play with bad players ; it is five per 
cent, ill one's favor, I liate gambling. But a quiet wubber, if one is the 
best player out of four, can't do any harm. 

Gloss. Clever fellow, that Biount. (murmurs. Blount ia/ces up ihe 
snicff-box and walks off with it ; Old Membek looks at him savagely. Waiter 
fetches coffee-cup from Member, l.) 

Enter a 'M^lub'e.-r reading a longleUer ; sits, c. fable. Blount, Glossmore, 
Flat, and Green, make up a table at the bottom of the stage, r. 

Smooth. A thousand pardons, ray dear Alfred — ninety repique — ten 
cards — game ! 

Eve. ( passing a note to him). Game ! Before we go on, one qnestion. 
This is Thursday — how much do you calculate to win of me before 
Tuesday next? 

Smooth. Ce cher Alfred ! He is so droll ! 

Eve. {writing in his pocket-book). Forty games a night — four nights, 
minus Sunday — our usual stakes — that would be right, I think. 

Smooth {glancing over the account). Quite — if I win all — which is next 
to impossible. 

Eve. It shall be possible to win twice as much, on one condition. 
Can you keep a secret? 

Smooth. My dear Alfred, I have kept myself! I never inherited a 
fanhing — I never spent less than £4,000 a year — and 1 never told a soul 
how I managed it. 

Eve. Hark ye, then — it is a matter to me of vast importance — a word 
with you. {theg whisper.) 

Old Mem. Waiter! the snufF-box. (Waiter takes it from Blount, etc. 
Murmurs.) 

Enter Sir John, c. 

EvR. You understand! 

Smooth. Perfectly ; anything to oblise. 

Eve. {cutting). It is for you to deal, {murmurs. They go on playing.) 

Waiter comes en with a note, on salver, and offers it to one of the Members, 
ivho is looking on at the whist-table : he scribbles an answer, at c. table, 
and sends the Waiter off with it. 

Sir J. There is my precious son-in-law, that is to be, spending my 
consequence, and making a fool of himself, {takes up snuff-lwx ; Old 
Member looks at him.) 

Eve {playing). Six to the point. 

Smooth. Good ! 

Eve. Three queens. 

Smooth. Not good — T have three kings and three knaves I {they deal 
out the cards until Sir John speaks.) 

Blount (rising from ihe table ; another Membrr takrs his place). I'm out. 
Flat, a pony on the odd tuick. {takes the money) That's wight, {comes 
doivn, u. c.-, counting money) Weil, Sh* John, you don't play \ 

Sir J. Play? no! {looking over Evelyn's hand) Confound him — lost 
again ! 

Eve. Hang the cards! — double the stakes ! 

Smooth. Anything to oblige — done ! 

Siu J. Done, indeed ! 

Old Mem. Waiter! the snuff-box. (Waiter takes it from Sir John.) 

Blount. I've won eight points and the bets — I never lose — I never 



44 MONEY. [act III. 

play ill the Deadly Smooth set ! {takes up the snuff-hox ; Old Member as 
before. ) 

Sir J. {looking over 'Bt^ooin' & hand, and fidgeting backwards and forwards). 
Lord, have mercy on us ! Smouth has seven for his point 1 What's tlie 
slakes 1 

Eve. Don't disturb us — I only throw out four. Stakes, Sir John ? — 
immense ! Was ever such luck ? — not a card for my point. Do stand 
back, Sir John — I'm getting irritable, [all rise and gather round Evelyn's 
table ; several in front, so as to hide the playing from the audience.) 

Blount. One hundred pounds on the next game, Evelyn 1 {going to 
the table.) 

Sir J. Nonsense — nonsense — don't disturb him ! All the fishes come 
to the bait ! Sharks and minnows all nibbling away at my son-in-law. 
{(joes and fakes the snuff-box.) 

Eve. One hundred pounds, Blount 1 Oh, yes ! the finest gentleman 
is never too fine a gentleman to pick up a guinea. Done! Treble the 
stakes, Smooth ! 

Sir J, I'm on the rack ! Be cool, Evelyn! take care, my dear boy ! 
Be cool — be cool ! (Smooth shoios his cards.) 

Eve. What — what ? You have four queens! — five to the king. Con- 
found the cards ! a fresh pack, {throws the cards behind him over Sir 
John. Waiter brings a neiv pack of cards to Evelyn. ) 

Old Mem. Waiter! the snuif-box. {murmurs, different Members 
gather round.) 

Two Members re-enter, and advance to Evelyn's table. All the Waiters on. 

Flat {with back to audience). I never before saw Evelyn out of tem- 
per. He must be losing immensely ! 

Green (r.). Yes — this is interesting ! 

Sir J. Interesting ! There's a wretch 1 

Flat {next to Green). Poor fellow ! he'll be ruined in a month 

Sir J. I'm in a cold sweat! 

Green. Smooth is the very devil. 

Sir J. The devil's a joke to him ! 

Gloss, [slapping Sir John on the back). A clever fellow that Smooth, 
Sir John, ehl [takes tip the snuff-box; Old Member as before) £100 on 
this game, Evelyn 1 [going to the table.) 

Eve. {half turning round). You ! well done the Constitution ! yes, 
£100 ! 

Old Mem. Waiter 1 the snuff-box. 

Stout. I think I'll venture £200 on this game, Evelyn ] {goes in front 
of table, R.J 

Eve. {quite ttirning round). Ha! ha! ha! — Enlightenment and the 
Constitution on the same side of the question at last! Oh, Stout, Stout! 
— greatest happiness of the greatest number— greatest number, number 
one! Done, Stout !— £200 ! ha! ha! deal, Smooth. Well done, Politi- 
cal Economy — ha! ha I ha! 

Sir J. Quite hysterical — drivelling! Aren't you ashamed of your- 
selves 1 His own cousins — all in a conspiracy — a perfect gang of them. 
{takes snuff-hox as before. Members indignant.) 

Stout {to Members). Hush ! he's to marry Sir John's daughter ! 

Flat. What! Stingy Jack's 1 oh! 

Chorus of Mems. Oh I oh ! 

Eve. By Heaven, there never was such luck! It's enough to drive a 
man wild ! This is mere child's play, Smooth — double or quits on the 
whole amount ! 



ACT IV. 



MOKEt. 46 



Smooth. Anything to oblige ! (murmurs ; they ptay quichly.) 

Sir J. Oh, dear — oh, dear! [great excitement.) 

Eve. {throwing down his cards, and rising in great agitation'). No more, 
no more — I've done! — quite enough! Glossraore, Stout, Blount — I'll 
pay you to-morrow. I — I — Death ! — this is ruinous ! [crosses l., seizes 
the snuff-hox, and goes itj}, l. c. to chair, l. u. E. ; sits.) 

Sir J. Ruinous '} What has he lost 1 what has he lost, Smooth ? Not 
much 7 eh 1 eh 1 (Members look at Evelyn; others gather round 
Smooth, c.) 

Smooth. Oh, a trifle, dear John ! — excuse me ! We never tell our 
winnings, [to Blount, l.) How d'ye do, Fred 1 — (^oGlossmore, r.) By 
the bye, Charles, don't you want to sell your house in Grosvenor square ? 
—£12,000, eh? 

Gloss. Yes, and the furniture at valuation. About £3,000 more. 

Smooth {looking over his pocket-book). Um ! Well, we'll talk of it. 

Sir J. (L. c). i2 and 3— £15,000. What a cold-blooded rascal it is 1 
—£15,000, Smooth ? 

Smooth. Oh, the house itself is a trifle ; but the establishment — I'm 
considering whether I have enoush to keep it up, ray dear John, [goes l.) 

Old Mem. Waiter! the snufF-box! {."craping it round and with a wry 
face) And it's all gone ! [give^ it to the Waiter to Jill.) 

Sir J. {turning round). And it's all gone I 

Eve. {starting up and laughing hysterically). Ha ! ha I all gone 1 not a 
bit of it. {goes to Smooth, c.) Smooth, this club is so noisy. Sir John, 
you are always in the way. Come to ray house ! come ! Champagne 
and a broiled bone. Nothing venture, nothing have ! The Inck must 
turn, and by Jupiter we'll raake a night of it ! [going ; Sir John stops 
him ) 

Sir J. A night of it! For Heaven's sake, Evelyn ! Evelyn! — think 
what you are about ! — think of Georgina's feelings I — think of your poor 
lost mother ! — think of the babes unl)orn ! — think of 

Eve. I'll think of nothing! Zounds! — you don't know what I have 
lost, man ; it's all your fault, distracting my attention. Pshaw — pshaw ! 
Out of the way, do ! {throtvs Sir John oJF, l.) Come, Smooth. Ha ! ha ! 
a night of it, my boy — a night of it ! [Exeunt Smooth a7id Evelyn, c. 

Sir J. (following). You must not — you shall not! Evelyn, my dear 
Evelyn ! he's drunk — he's mad ! Will no one send for the police I 

[JExit, 0. 

Mems. Ha ! ha ! ha ! Poor old Stingy Jack ! 

Old Mem. {rising for the first time, and in a great rage). Waiter! the 
snuff-box ! 

Mems. Ha ! ha I ha 1 Stingy Jack ! {murmurs and laughter as tlie act- 
drop descends.) 

curtain. 



ACT IV. 

SCENE I. — An ante-room in Evelyn's house. 

Enter Toke, Glossmoue, and Blount, r. Chairs and tables with writing 
materials, R. and L. 

ToKB. My master is not very well, my lord. ; but I'll let him know. 

{Exit Toke, o. d. 



46 MONEY. [act IV. 

Gloss. I am very curious to learn the result of his gambling tete-^- 
tete. There are strange reports abroad, and the tradesmen have taken 
the alarm. 

Blount. Oh, he's so hovvwidly wich, he can affoid even a tete-a-tete 
with Deadly Smooth ! 

Gloss. Poor old Stingy Jack! why, Georgina was your intended. 

Blount. Yes ; and I weally liked the girl, though out, of pique I pwo- 
posed to her cousin. But what can a man do against money 'i 

Enter Evelyn, c, in a morning wrcqoper. 

If we could start fair, you'd see whom Georgina would pwefer ; but she's 
sacwificed by her father 1 She as much as told me so ! {crosses, r.) 

Eve. {aside). Now to work slid further upon Sir John, through these 
excellent friends of mine, {aloud) So, so — good morning, gentlemen ! 
we've a little account to settle — one hundred each. 

Both. Don't talk of it. 

Eve, {pidting up his pocJcet-hook). Well, I'll not talk of it. {taking 
Blount asidp) Ha ! ha ! you'd hardly believe it — but I'd rather not pay 
you just at present; my money is locked up, and I must wait, you 
know, for the Groginhole rents. So, instead of owing you £100, sup- 
pose I owe yow Jive ? You can give me a check for the other four. And, 
liarkye ! not a word to Glossmore. 

Blount. Glossmore ! the gweatest gossip in London ! I shall be de- 
lighted ! [aside^ It never does harm to lend to a wich man ; one gets it 
back somehow, {aloud) By the way, Evelyn, if you want my gwey cab- 
horse, you may have him for £200, and that will make seven. 

Eve. {aside). That's the fashionable usury ; your friend does not take 
interest — he sells you a horse, {aloud) Blount, it's a bargain. (Blount 
goes to R, table.) 

Blount {writing a check, and musinghj). No; I don't see what harm it 
can do me; that off-leg must end in a spavin. 

Eve. Now for my other friend, {to Glossmore) That £100 I owe you 
is rather inconvenient at present; I've a large sura to make up for the 
Groginhole property — perhaps you would lend me five or six hundred 
more — just to go on with '? 

Gloss, (l.). Certainly! Hopkins is dead; your interest for Cipher 
wouid 

Eve. Why, I can't promise that at this moment. But as a slight 
mark of friendship and gratitude, I shall be very much flattered if you'll 
accept a splendid gray cab-horse I bought to-day — cost £200 ! 

Gloss, [aside). Bought to-day — then I'm safe, {aloud) My dear fellow, 
you're always so princely I 

EvK, Nonsense ! just write the check ; and, harkye, not a syllable to 
Blount ! 

Gloss, Blount! He's the town-crier I {goes to write at l. table.) 

Blount {rises, giving Evelyn the check). Wansom's, Pall-mall East. 

EvK. Thank you. So yow. proposed to Miss Douglas! 

Blount {b..). Hang it! yes; 1 could have sworn that she fancied me; 
her manner, for instance, the vewy day you pwoposed for Miss Vesey, 
otherwise Georgina 

Eve. Has only half what Miss Douglas has. 

Blount, You forget how much Stingy Jack must have saved! But 
I beg your ])ardon. 

Eve. Never mind; but not a word to Sir John, or he'll fancy I'm 
ruined. (Glossmore cornea down, l.) 



ACT IV.] JfONEf. 47 

Gloss, (ffivw^f the check). Ransom's, Pall-mall East. Tell me, did 
you win or lose last night % 

Eve. Win ! lose ! oh ! No more of that, if you love me. I must send 
oft" at once to the banker's, {lookhig at the two checks^) 

Gloss, {aside). Why, he's borrowed from Blount, tool 

Blount [aside). That's a cheque from Lord Giossmore, 

Eve. Excuse me; 1 must dress; I have not a moment to lose. You 
remember you dine with me to-day-— seVen o'clock. You'll meet Smooth. 
{mournfu,lhj) It may be the last time I shall ever welcome you here. 
My— what am I saying? Oh, merely a joke — good bye — goodhye. {shak- 
ing them heartihj by the hand. Hxit, c. d. Glossmoke and Blount look 
at each other for a moment^ and then speak.) 

Blount. Glossmore 1 

Gloss. Blount I 

Blount. 1 am afvvaid all's not wight I 

Gloss. I incline to your opinion. 

Blount. But I've sold my gway cab-horse. 

Gloss. Gray cab-horse ! you ! — What is he really worth now ? 

Blount. Since he is sold, I will tell you — Not a sixpence. 

Gloss. Not a sixpence 1 he gave it to me. 

Blount. That was devilish unhandsome 1 Do you know, I feel ner- 
vous ! 

Gloss. Nervous ! Let us run and stop payment of our checks. 

Enter Toke, c. d. ; he runs across the stage towards r. 

Blount. Hollo, John ! where so fast 1 

ToKE {in great haste). Beg pardon, Sir Frederick, to Pall-mall East — 
Messrs. Ransom. . [Exit, r. 

Blount {solemnly) Glossmore, we are floored ? 
Gloss. Sir, the whole town shall know of it. {Exeimt, r. 

SCENE II. — A splendid saloon en Evelyn's house. Doors c, leading to the 
dining-room. 

Evelyn and Graves discovered seated. 

Graves. You don't mean to say you've borrowed money of Sir John ? 

Eve. Yes, five hundred pounds. Observe how I'll thank him for it ; 
observe how delighted he will be to find that five hundred was really of 
service to me. 

Graves. I don't understand you. You've grown so mysterious of late. 
You've withdrawn your money from Flash and Brisk ? 

Eve. (r. o/l. table). No. 

Graves. No — then 

Enter Sir John, Laj)y Franklin, and Georgina, r. Georgina goes to 
table L., and listens to Evelyn. Lady Franklin and Graves up c. 

Sir J. You got the check for £500 safely — too happy to— {grasping 
Evelyn's hand.) 

Eve. [interrupting him). My best thanks — my warmest gratitude! 
So kind in you ! so seasonable— that £500— you don't know the value 
of that £500. I shall never forget your nobleness of conduct. 

Sill J, Gratitude ! Nobleness ! {aside) I can't have been taken in ? 

Eve. And in a moment of such distress ! 



48 MONET. [act I\. 

Sir J. (nsidr). Such distress! He picks out the ugliest words in tho 
whole dictionary. 

Eve. You must know, my dear Sir John, I've done with Smooth. 
But I'm still a liLLlc crip})led, and you must do me anofhei' favor. I've 
only as yet paid the deposit of ten per cent, for th3 ori eat Groginhole prop- 
erty. 1 am to pay the rest this week — nay, 1 fear to-morrow. I V(! 
already sold out of the Funds for the purchase; the money lies at the 
bankers^ and of course I can't touch it ; for if I don't pay by a certain I 
day, I forfeit the estate and the deposit. 

Sir J. What's coming now, 1 wonder 1 

JEnter Servant, R. Announces Mr. Stout and exits. Enter Stout, in 
evening dress. 

Eve. Georgina's fortune is £10,000, I always meant, my dear Sir 
John, to present you with that little sum. 

Sir J. Oh, Evelyn! [wipes his eyes ; Stout goes to l. table.) 

Eve, But the news of my losses has frightened my tradesmen ! I 
have so many heavy debts at this moment that — that — that. — But I see 
Georgina is listening, and I'll say what I have to say to her. {crosses to 
her, R. c) 

Sir J. No, no — no, no. Girls don't understand business. 

Eve. The very reason I speak to her. This is an affair not of busi- 
ness, but oi feeling. Stout, show Sir John my Corregaio. 

Sir J. [aside). Devil take his Correggio ! The man is born to torment 
me ! (Stout takes him by the arm, and points off, L. s. E.) 

Eve. My dear Georgina, whatever you may hear said of me, I flatter 
myself that you feel confidence in my honor. 

Geor. Can you doubt it 7 

Eve. I confess that I am embarrassed at this moment; I have been 
weak enough to lose money at play. I promise you never to gamble 
again as long as I live. My affairs can be retrieved ; but for the first 
few years of our marriage it may be necessary to retrench. 

Geor. Retrench ! 

Eve. To live, perhaps, altogether in the country. 

Geok. Altogether in the country! 

Eve. To confine ourselves to a modest competence. 

Gkok, Modest competence ! I knew something horrid was coming . 

Enter Sir F. Blount, r. ; he salutes Evelyn and Lady Franklin. 

Eve. And now, Georgina, you may have it in j'our power at this 
moment to save me from much anxiety and humiliation. My money is 
locked up — my debts of honor must be settled — you are of age — your 
£10,000 is in your own hands 

Sir J. (Stout listening as tvell as Sir John), I'm standing on hot iron. 

Evk, If you could lend it to me for a few weeks. You hesitate. Can 
you give me this proof of your confidence 1. Remember, without confi- 
dence, what is wedlock ] 

Sir J. {aside to her). No! (Evelyn turns sharply) Yes, {pointing his 
glass at the Correggio) the painting may be fine. 

Stout, But you don't like the subject \ 

Geor, {aside). He may be only trying me! Best leave it to papa. 

Eve. Well 

GiiOR. You — you shall hear from me to-morrow, {aside) Ah, there's 
that dear Sir Frederick ! ( goes to Bloust, at the back.) 



ACT IV.] MONET. 49 

Enter Glossmore and Smooth, b. Evelyn saMes (hem, paying Smooth 
servile respect ; takes his ann and crosses to L., and up the stage. 

Lady F. (r. c, to Graves). Ha ! ha I To be so disturbed yesterday — 
was it not dioll % 

Graves. Never recur to that humiliating topic. 

Gloss, (c, to Stodt). See how Evelyn fawns upon Smooth. 

Stout. How mean in him ! — Smooth — a professional gambler — a fel- 
low who lives by his wits. I would not know such a man on any account. 
(Smooth comes down, c.) 

Smooth {to Glossmore). So Hopkins is dead — you want Cipher to 
come in for Groginhole, eh ? 

Gloss, (l. c). What — could you manage it? [aside) Why, he must 
have won his whole fortune. 

Smooth. Ce cher, Charles! — anything to oblige. 

Gloss. It is not possible he can have lost Groginhole ! 

Stout. Groginhole! What can he have done with Groginhole i 
Glossmore, present me to Smooth. 

Gloss. What ! the gambler — the fellow who lives by his wits 7 

Stout. Why, his wits seem to be an uncommonly productive capital 1 
I'll introduce myself, (crosses to Smooth) How d'ye do, Captain Smooth? 
We have met at the club, 1 think — I am charmed to make your acquain- 
tance in private. I say, sir, what do you think of the affairs of the 
nation ? Bad ! very bad — no enlightenment — great fall off" in the reve- 
nue — no knowledge of finance ! There's only one man who can save the 
country— and that's Popkins ! 

Smooth. Is he in Parliament, Mr. Stout ? What's your Christian 
name, by-the-bye'? 

Stout. Benjamin — No; — constituences are so ignorant they don't un- 
derstand his value. He's no orator : in fad, he stammers a little — that 
is, a great deal — but devilish profound. Could not we ensure him for 
Groginhole 1 

Smooth. My dear Benjamin, it is a thing to be thought on. {they re- 
tire.) 

Eve. {advancing). My friends, pray be seated, {they sit*) I wish to 
consult you. This day twelve months I succeeded to an ininjense in- 
come, and as, by a happy coincidence, on the same day I secured your 
esteem, so now I wish to ask you if you think I could have spent that 
income in a way more worthy your good opinion. 

Gloss. Impossible! excellent taste — beautiful house ! 

Blount. Vewy good horses — {aside, to Glossmore) — especially the 
gway cab. 

Lady F. Splendid pictures I 

Graves. And a magnificent cook, ma'am ! 

Smooth (thrusting his hands into his pockets). It is aiy opinion, Alfred 
— and I'm a judge — that you could not have spent your money better. 

Omnes {except Sir John). Very true! 

Geor. Certainly, [coaxingly) Don't retrench, my dear Alfred ! 

Gloss. Retrench ! nothing so plebeian ! 

Stout. Plebeian, sir — worse than plebeian — it is against all rules of 
public morality. Every one knows^ now-a-days, that extravagance is a 

* All sit thus. 

SiH Frederick. Glossmore. Sxoux. Smooth. Georgina. 

Lai>y Franklin. Evelyn. 

Graves. Sir John. 

R. L. 



50 MONEY. [aCI IV. 

benefit to the population — encourages art — employs labor — and multi- 
plies spinnin«T.jennies. 

Eve. You reassure me 1 I own I did think that a man worthy of 
friends so sincere might have done something better than feast — dress — 
drink — play 

Gloss. Nonsense — we like you the better for it. {aside) I wish I had 
my £600 back, though. 

Eve. And you are as much my friends now as when you offered me 
£10 lor my old nurse 1 

Sir J. A thousand times more so, my dear boy. (Omnes approve.) 

Enter Sharp, r. 

Smooth. But who's our new friend? 

Eve. Who 1 the very man who first announced to me the wealth 
which you allow I have spent so well. But what's the matter, Sharp 1 
{p'osses to Sharp, tvho whispers to him.) 

Eve. {aloud). The bank's broke ! {all start up.) 

Sir J. Bank broke — what bank ? {coming down, c.) 

Eve. Flash, Brisk and Co. 

Sir J. But I warned you — you withdrew "? 

Eve. Alas! no ! 

Sir J. Oh ! Not much in their hands? 

Eve. Why, I told you the purchase-money for Groginhole was at ray 
bankers' — but no, no ; don't look so frightened ! It was not placed with 
Flash — it is at Hoare's — it is, indeed. Nay. I assure you it is. A mere 
trifle at Flash's, upon my word, now ! Don't groan in that way. You'll 
frighten everybody ! To-morrow, Sharp, v/e'll talk of this ! One day 
more — one day, at least for enjoyment, [ivalks to and fro.) 

Sir J. Oh ! a pretty enjoyment! 

Blount. And he borrowed £700 of me ! 

Glos.-?. And £600 of me ! 

Sir J. And £500 of me ! 

Stout. Oh ! a regular Jeremy Diddler ! 

Stout {to Sir John). I say, you have placed your daughter in a very 
unsafe investment. Transfer the stocli. 

Sir J. {going ^oGeorgina). Ha ! I'm afraid we've been very rude to 
Sir Frederick. A monstrous fine young man ! 

Enter Toke, with a letter, r. 

Tore {to Evelyn). Sir, I beg your pardon, but Mr. MacFinch insists 
on my giving you this letter instantly. 

Eve. {reading). How ! Sir John, this fellow, MacFinch, has heard of 
my misfortunes, and insists on being paid — a lawyer's letter — quite inso- 
lent. Here, read this letter — you'll be quite amused with it. 

Tore. And, sir, Mr. Tabouret is below, and declares he will not stir 
till he's paid. [Exit, r. 

Eve. Not stir till he's paid I What's to be done. Sir John 1 Smooth, 
what IS to be done 1 

Smooth {seated, c). If he'll not stir till he's paid, make him put up a 
bed; and I'll take him in the inventory, as one of the fixtures, Alfred. 

Eve. It is very well for you to joke, Mr. Smooth. But 

Enter Sheriff's Officer, giving a paper to Evelyn and whispering. 
Eve. What's this ? Frantz, the tailor. Why, the impudent scoun. 



All up the stage, L. 
L. c. 



A.CT lY.] MONEY. 51 

drel ! Faith, this is more than I bargained for — Sir John, I'm arrested. 

Stout. He's arrested, {slapping Sir John 07i the back with ylee) old 
gentleman ! But I didn't lend him a farthing. 

Eve. And for a mere song — £150 ! Sir John, pay this fellow, will 
you 1 or see that my people kick out the bailiffs, or do it yourself, or 
something — while we go to dinner. 

Sir J Pay— kick— I'll be d— d if I do! Oh, my £500 ! my £500 ! 
Mr. Alfred Evelyn, I want my £500! (Graves and Lady Franklin 
come forward, r. c.) 

Graves. I'm going to do a very silly thing — I shall lose both my 
friend and my money— just like my luck — Evelyn, go to dinner — I'll 
settle this for you. 

Lady F. I love you for that ! 

Graves. Do you ? then I am the nappiest — Ah I ma'am, I don't know 
what 1 am saying I (Lady Franklin retires, e. Exeunt Graves and Of- 
ficer, R.) 

Eve. {to Georqina, who is l. c). Don't go by these appearances ! I 
repeat, £10,000 will more than cover all my embarrassments. I shall 
hear from you to-morrow 1 

Geor. Yes — yes ! {goiuff, r.) 

Eve. But you're not going 1 You, too, Glossmorel you, Blount 1 — 
you, Stout ] — you. Smooth { 

Smooth. No. I'll stick by you as long as you've a guinea to stake ! 

Gloss. Oh, this might have been expected from a man of such am- 
biguous political opinions ! {crosses, r.) 

Stout. Don't stop me, sir. No man of common enlightenment would 
have squandered his substance in this way. Pictures and statues — 
baugh ! {crosses, r.) 

Eve, Why, you all said I could not spend my money better ! Ha! 
ha ! ha ! — the absurdest mistake — you don't fancy I'm going to prison — 
Ha! ha! Why don't you laugh, Sir John? — ha! ha! ha! {goes up the 
stage. Sir John crosses to r, c.) 

Sir J. Sir, this horrible levity I Take Sir Frederick's arm, my poor, 
injured, innocent child. 

Smooth. But, my dear John, they have no right to arrest the dinner. 

The c. doors are throvm open by two Servants, a handsome dining-room is 
discoveredf and a table elegantly set for ten persons. Enter Toke, c. 

ToKE. Dinner is served. 

Gloss, {pausing). Dinner! 

Stout. Dinner ! a very good smell ! 

Eve. {to Sir John). Turtle and venison, too. {they stop irresolute) 
That's right — come along— come along — but one word first, Blount 
— Stout — Glossmore — Sir John — one word first; will you lend me 
£10 for my old nurse 1 {they all fall back) Ah, you fall back ! Be- 
hold a lesson for all who build friendship upon their fortune, and not 
their virtues. You lent me hundreds this morning to squander upon 
pleasure — you would refuse me £10 now to bestow upon benevolence. 
Go — we have done with each other — go. 

[Exeunt, indignantly, r., all but Evelyn and Smooth. 

JU-enter Graves, b. 

Graves. Heyday ! what's all this ? 

Eve. Ha ! ha ! — the scheme prospers — the duper »* duped ! Come, 
my friends — come; when the standard of money goes down, in the great 



52 MOBTET. [act V. 

battle between man and fate — why, a bumper to the brave hearts that 
refuse to desert us. {Exeunt, c. door. 

Smooth and Qrayes. Ha I ha ! ha ! {ring down when Evelyn is seated.) 

CURTAIN. 



ACT V. 



SCENE I. — ****»5 Cluh; Smooth, Glossmobe— /<?Mr oiJier Members 

discovered. * 

Gloss. Will his horses be sold, think you ? 

Smooth. Very possibly, Charles — a fine stud — hum — ^ha ! Waiter, a 
glassof sherry I (Smooth is at breakfast at the l. taUe, where tJieOho Mem- 
ber sat.) 

Enter Waiter, c, with sherry. 

Gloss. They say he must go abroad. 

Smooth. Well ; 'tis the best time of year for travelling, Charles. 

Gloss. We are all to be paid to-day ; and that looks suspicious ! 

Smooth. Very suspicious, Charles I Hum ! — ah ! 

Gloss, {rises and a-osses to Smooth). My dear fellow, you must know 
the rights of the matter; I wish you'd speak out. What have you really 
won 1 Is the house itself gone 1 

Smooth. The house itself is certainly not gone, Charles, for I saw it 
exactly in the same place this morning at half-past ten — it has not 
moved an inch. (Waiter ffives a letter to Glossmore.) 

Gloss, {reading). From Groginhole — an express ! What's this 1 I'm 
amazed! (reading) "They've actually, at the eleventh hour, started Mr. 
Evelyn ; and nobody knows what his politics are ! We shall be beat ! — 
the Constitution is gone — Cipher !" Oh ! this is infamous in Evelyn ! 
Gets into Parliament just to keep himself out of the Bench ! 

Smooth. He's capable of it. 

Gloss. Not a doubt of it, sir ! Not a doubt of it ! The man saves 
himself at the expense of his country — Groginhole is lost. There's an 
end of the Constitution 1 [Exit, c. 

Enter Sir John ««^ Blount, c, ialkinff. 

Sir J. My dear boy, I'm not flint! 1 am but a man! If Georgina 
really loves you — and I am sure that she does — 1 will never think of sac- 
rificing her happiness to ambition — she is yours ; I told her so this very 
morning. 

Blount {aside). The old humbug I 

Sir J. She's the best of daughters! Dine with me at seven, and we'll 
talk of the settlements. (Waiter brings a bill on a salver to Smooth ; he 
pays it.) 

Blount. Yes; I don't care for fortune — but 

Sir J. Her £10,000 will be settled on herself^that of course. 

Blount. All of it, sir 1 Weally, I 

SiK J. What then, my dear boy ? I shall leave you both all I've laid 
by. Ah, you know I'm a close fellow i " Stingy Jack," — eh ? After 



♦ This Scene is frequently omitted. 



ACT v.] JIONKT. 63 

all, worth makes the man ! (Waiter removes breakfast things and cloth from 
Smooth's tabie.) 

Smooth, [rises). And the more a man's worth, John, the worthier man 
he must be. [Exeunt, Members and Smooth, o. Sir John takes up a 
newspaper and reads.) 

Blount {aside). Yes; he has no other child! She mwsi have all his 
savings ; I don't see what harm it could do me. Still, that £10,000 — I 
want that £10,000; if she would but wun oflf one could get wid of the 
settlements. 

Enter Stout, c. {wiping his forehead)^ and takes SiR John aside, l. 

Stout. Sir John, we've been played upon ! My secretary is brother 
to Flash's head clerk ; Evelyn had not £300 in the bank ! 

Sir J. (c). Bless us and save us ! you take away my breath ! Bat 
then — Deadly Smooth — the execution — the — Oh, he must be done up ! 

Stout. As to Smooth, he'd " do anything to oblige." All a trick, de- 
pend upon it. Smooth has already deceived me, for before the day's 
over, Evelyn will be member for Qroginhole. I've had an express from 
Popkins ; he's in despair ! not for himself — but for the countryy Sir John, 
— what's to become of the country 1 

Sir J. But what could be Evelyn's object ? 

Stout. Object ? Do you look for an object in a whimsical creature 
like that? — a man who has not even any political opinions! Object! 
Perhaps to break off his match with your daughter ! Take care, Sir 
John, or the borough will be lost to your family. 

Sir J. Aha ! I begin to smell a rat. 

Stout. Do you'? 

Sir J. But it is not too late yet. 

Stout. My interest in Popkins made me run to Lord Spendquick, 
the late proprietor of Groginhole. I told him that Evelyn could not pay 
the rest of the money ! and he told me that 

Sir J. What? 

Stout. Mr. Sharp had just paid it him; there's no hope for Popkins! 
England will rue this day. {goes to table and looks at papers,) 

Sir J. Georgina shall lend him the money ! iV/lend him — every man in 
ray house shall lend him — I feel again what it is to be a father-in-law — 
Sir Frederick, excuse me — you can't dine with me to-day. And, on sec- 
ond thoughts, I see that it would be very unhandsome to desert poor 
Evelyn, now he's down in the world. Can't think of it. my dear boy — 
can't think of it I Very much honored, and happy to see you as a friend. 
Waiter, my carriage ! Urn ! What, humbug Stingy jack, will they 1 
Ah ! a good joke, indeed. [Exit, c. 

Blount. Mr. Stout, what have you been saying to Sir John 1 Some- 
thing about my chawacter ; I know you have ; don't deny it. Sir, I 
shall expect satisfaction ! 

Stout. Satisfaction, Sir Frederick 1 Pooh, as if a man of enlighten- 
ment had any satisfaction in fighting ! Did not mention your name ; we 
were talking of Evelyn. Only think — he's no more ruined than you are. 

Blount. Not wuined ! Aha, now I understand ! So, so ! Stay, let 
me see — she's to meet me in the square. ( pulls out his watch ; a very small 
one.) 

Stout {pulling out his own ; a very large one). I must be off to the ves- 
try. [Exit, c. 

Blount. Just in time — ten thousand pounds! 'Gad, my blood's up, 
and I won't be tweated in this way if be were fifty times Stm^y Jack ! 

[Exit, c. 



54 MONET. [aCI T. 

Scene II. — nie drawing-rooms in Sir John Vesbt's home. 
Enter Lady Franklin and Graves, l. 

Graves. Well, well, I ara certain that poor Evelyn loves Clara still, 
but you can't persuade me that she cares for him. 

Ladv F. She has been breaking her heart ever since she heard of his 
distress. Nay, I am sure she would ujve all she has, could it save him 
from the consequences of his own folly. 

Graves. I should just like to sound her. 

Lady F. {ringing the bsll). And you shall. I take so much interest in 
her, that I forgive your friend everything but his offer to Georgina. 

Enter Page, r. 

Where are the young ladies 1 

Page. Miss Vesey is, I believe, still in the square ; Miss Douglas is 
just come in, my lady. 

Lady F. What ! did she go out with Miss Vesey 1 

Page. No, my lady ; I attended her to Drummond's, the banker. 

[Exit, R. 
Lady F. Drummond's ! 

Enter Clara, e. 

Why, child, {crosses to her) what on earth could tako you to Drummond's 
at this hour of the day ? 

Clara {confused). Oh, I — that is — I — Ah, Mr. Graves ! {crosses to 
Graves) How is Mr. Evelyn ] How does he bear up against so sudden 
a reverse 1 

Gkavks. With an awful calm. I fear all is not right hero! {touching 
his head) The report in the town is, tliat he must go abroad instantly — 
perhaps to-day. {crosses to c.) 

Clara (c). Abroad! — to-day! 

Gkavks (l.). But all his creditors will be paid ; and he only seems 
anxious to know if Miss Vesey remains true in his misfortunes. 

Clara. Ah ! he loves her so much, then ? 

Graves. Um! That's more than I can sa}'. 

Claua. She told me last night, that he said £10,000 would free him 
from all his liabilities — that was the sum, was it not 1 

Graves. Yes ; he persists in the same assertion. Will Miss Vesey 
lend it? 

Lady F. {aside, r.). If she does, I shall not think so well of her poor 
dear mother; for I am sure she'd be no child of Sir John's! 

Graves. I should like to convince myself that my poor friend has 
nothing to hope from a woman's generosity. 

Lady F. Civil ! And are men, then, less covetous ? 

Graves. I know one man at least, who, rejected in his poverty by 
one as poor as himself, no sooner came into a sudden fortune than he 
made his lawyer invent a codicil which the testator never dreamt of, be- 
queathins independence to the woman who had scorned him. 

Lady F. And never told her ? 

Graves. Never ! There's no such document at Doctor.s' Commons, 
depend on it. You seem incredulous, Miss Clara! Good day ! {crosses, r.) 

Clara {following him'). One word, for mercy's sake ' Do I understand 
you lisht 1 Ah, how could I be so blind 1 Generous Evelyn ! 

Graves. You appreciate, and Georgina will desert him. Miss Douglas, 



ACr v.] MONET. 56 

he loves you still. If that's not just like me ! Meddling with other 
people's affairs, as if they were worth it — hang them ! [Exit, r. 

Clara. Georgina will desert him. Do you think so 1 
Lady F. She told me last night that she would never see him 
again. To do her justice, she's less interested than her father — and as 
much attached as she can be to another. Even while engaged to Eve- 
lyn, she has met Sir Frederick every day in the square. 

Clara. And he is alone — sad — forsaken — ruined. And I, whom he 
enriched — I, the creature of his bounty — I, once the woman of his love 
— I stand idly here to content myself with tears and prayers ! Oh, Lady 
Franklin, have pity on me — on him ! We are both of kin to him— as re- 
lations we have both a right to comfort ! Let us go to him — come ! 

Lady F. No ! it would scarcely be right — remember the world — I 
cannot ! 

Claka. All abandon him — then I will go alone ! (crosses, r.) 

Lady F. Alone — what will he think ? What but 

Clara. What but — that, if he love me still, I may have enough for 
both, and I am by his side ! But that is too bright a dream. He told 
me I might call him brother! Wliere, now, should a sister be 1 But — 
but — I — I — I — tremble ! If, after all — if — if — In one word, am 1 too 
bold ? The world — my conscience can answer thai — but do you think 
that he could despise me ? 

Lady F. No, Clara, no ! Your fair soul is too transparent for even 
libertines to misconstrue. Something tells me that this meeting may 
make the happiness of both. You cannot go alone. My presence jus- 
tifies all. Give me your hand — we will go together. [Exeunt, r. 

SCENE III. — A room in Evelyn's house, same as last of Act IV. Eve- 
lyn discovered at table, r. 

EvR. Yes ; as yet, all surpasses my expectations. I am sure of 
Smooth — I have managed even Sharp ; my election will seem but an 
escape from a prison. Ha ! ha ! True, it cannot last long ; but a few 
hours more are all I require, and for that time at least I shall hope to 
be thoroughly ruined, irises and goes l.) 

Enter Graves, r. 

Well, Graves, and what do people say of me? 

Graves. Everything that's bad ! 

EvR. Three days ago I was universally respected. I awake this 
morning to find myself singularly infamous. Yet, I'm the same man. 

GuAVES. Humph ! why, gambling 

Eve. Cant ! it was not criminal to gamble — it was criminal to lose. 
Tut ! — will you deny that if 1 had ruined Smooth instead of myself, 
every hand would have grasped mine yet more cordially, and every 
lip would have smiled consratulation on my success ? Man — Man — I've 
not been rich and poor for nothing. The Vices and the Virtues are 
writtpn in a language the world cannot construe ; it reads them in a vile 
translation, and the translators a.ve— failure and success ! You alone are 
uncha'ioed. 

Graves. There's no merit in that I am always ready to mingle my 
tears with any man. {aside) I know I'm a fool, but I can't help it. (aloud) 
Haik ye. Evelyn. I like you — I'm rich; and anything I can do to set 
you out of your hobble will give me an excuse to grumble for the rest 
of my life. There, now 'tis out. 

Eve. (touched). There's something good in human nature, after all ! 



56 MONEY, [act V. 

My dear friend, I will now confide in you ; I am not the spendthrift you 
thiulc me — my losses have been tn'fimg — not a month's income of my 
fortune, (Graves shakes him heartily hy the hand) No I it has been but a 
stratagem to prove ii the love, on which was to rest the liappiness of a 
whole hfe, were given to the Money or the Man. Now you guess why I 
have asked from Georgina tliis one proof of confidence and aflfectiou.— * 
Tliink yon she will give if? 

Graves. Would you break your heart if she did not? 

Eve It is vain to deny that 1 still love Clara ; our last conversation 
renewed feelings which would task all the energies of my soul to con- 
quer. No ! the heart was given to the soul as its ally, not as its traitor. 

GitAvus. What do you intend to do 1 

Evu. This : — If Georgina prove, by her confidence and generosity, 
that she loves me for myself, I will shut Clara for ever from my thoushts. 
I am pledged to Georgina, and I will carry to the altar a soul resolute 
to deserve her affection and fulfill its vows. 

GuAVES And if she reject you '? 

Eve. {joyfullij). If she do, 1 am free once more ! And then — then I 
will dare to ask, for I can ask without dishonor, if Clara can explain the 
past and bles& the future ! {crosses, r.) 

JEnter Servant, r., tvith a letter on a salver ; Evelyn takes it. Exit Ser- 
vant, R. 

Eve. {after reading it). The die is cast — the dream is over. Generous 
girl ! Oh, Georgina ! I will deserve you yet. 

GuAVES Georgina ! is it possible 1 

Eve. And the delicacy, the womanhood, the exquisite grace of this ! 
How we raisjudoe the depth of the human heart! How, seeing the 
straws on the surface, we forget that the pearls may lie hid below 1 I 
im:i«ined her incapable of this devotion. 

Gravks. And 1, too. 

Evii. It were base in me to continue this trial a moment longer; I 
will write at once to undeceive that generous heart, {goes to r. table and 
iV rites.) 

Graves. I would have given £1,000 if that little jade Clara had been 
beforehand. But just like my luck ; if I want a man to marry one wo- 
man, he s sure to marry another on purpose to vex me. 

Eve. Graves, will you ring the bell ? (Graves rings belly l.) 

JEnter Servant, r. 

Take this instantly to Miss Vesey ; say I will call in an hour, (exit Ser- 
vant) And now Clara is resigned forever. Why does my heart sink 
witliin mel Why, why, looking to the fate to come, do I see only the 
memory of what has been 1 {goes towards l.) 

Gijaves. You are re-engaged then to Georgina? 

Eve. Irrevocably. 

JEnter Servant, r., announcing Lady Franklin and Miss Douglas. 

Lady F. My dear Evelyn, you may think it strange to receive sucU 
visitors at this raomont; but, indeed, it is no time for ceremony. We 
are your relations — it is reported you are about to leave the country — 
we come to ask frankly what we can do to serve you ! 

Eve Madam — I 

Lady F. Come, come — do not hesitate to confide in us ; Clara is less 



ACT Y.] ItONEXk 67 

a stranger to you than I am ; your friend here will perhaps let me eon- 
suit with him. (crosses and speaks aside to Graves) Let us leave them to 
themselves. 

Gravks. You're an angel of a widow ; but you come too late, as what- 
ever is good for anything generally does, {thcr/ retire into the inner^room, 
out of siffht, the doors of which should be partially open.) 

Eve. (l ). Miss Douglas, I may well want words to thank you! this 
goodness — this sympathy 

Clara {^.^ abandoning herself to her emotion'). Evelyn! Evelyn! Do 
not talk thus! Goodness! sympathy — I have learned <?/^ — alU It is 
for ME to speak oi gratitude ! Wiiat! even when I had so wounded you 
— vvl)en you believed me mercenaiy and cold — when you thought that I 
was blind and base enough not to know you for what you are; even at 
that time you thought but of my happiness — my fortunes — my fate ! — 
And to you — you — I owe all that has raised the poor orphan from s?rvi- 
tude and dependence ! While your words were so bitter, your deeds so 
gentle ! Oh, noble Evelyn, this then was your revenge. 

Eve. You owe me no thanks — that revenge was sweet ! Think you it 
was nothing to feel that my presence haunted you, though you knew it 
not? — that in things the pettiest as the greatest, which that gold could 
buy — the very jewels you wore — the very robe in which, to other eyes, 
you might seem more fair — in all in which you took the woman's young 
and innocent delight — 1 had a part — a share 1 that, even if separated 
for ever — even if another's — even in distant years — perhaps in a hapi)y 
home, listening to sweet voices that might call you " mother !" — even 
then should the uses of that dross bring to your lips one smile — that 
smile was mine — due to me — due as a sacred debt, to the hand that you 
rejected — to the love that you despised ! 

ClrA3A. Despised ! See the proof that I despise you — see ; in this 
hour, when they say you are again as poor as before, I forget the world 
— my pride — perhaps too much my sex ; I remember but your sorrows 
— 1 am here! 

Eve. And is this the same voice that, when I knelt at your feet— when 
I asked but one day the hope to call you mine — spoke only of poverty, 
and answered, " Never T^ 

Clara. Because I had been unworthy of your love if I had insured 
your misery! Evelyn, hear me! My father, like you, was poor — gen- 
erous ; gifled, like you, with genius — ambition ; sensitive, like you, to 
the least breath of insult. He married, as you would have done — mar- 
ried one whose only dower was penury and care! Alfred, I saw that 
genius the curse to itself — I saw that ambition wither to despair — I saw 
the struggle — the humiliation — the proud man's agony — the bitter life — 
the early death — and heard over his breathless clay my mother's groan 
of self-reproach! Alfred Evelyn, now speak! Was the woman you 
loved so nobly to repay you with such a doom 1 

Eve. Clara, we should have shared it. 

Clara. Shared ? Never let the woman who really loves comfort her 
selfishness with such delusion ! In marriages like this, the wife cannot 
share the burden ; it is he — the husband — to provide, to scheme, to work, 
to endure — to grind out his strong heart at the miserable wheel ! The 
wife, alas ! cannot share the struggle — she can but witness the despair ! 
And therefore, Alfred. I rejected you. 

Eve. Yet you believe me as poor now as I was then 1 

Clara. But I am not poor; we are not so poor. Of this fortune, 
which is all your own — if, as I hear, one-half would free you from your 
debts, why, we have the other half still left. Evelyn, it is humble— but 
it is not penury. You know me now. 



58 HONEY. [act Y. 

Eve. Know you ! Bright angel, too excellent for man's harder nature 
to understand — at least it is permitted me to revere. Why were such 
blessed words not vouchsafed to me before ? — why, Avhy come they now 
— too late 1 Oh, Heaven — too late ! 

Clara. Too late ! What, then, have I said 1 

Eve. Wealth ! what is it without you 1 With you, I recognize its 
power ; to forestall your every wish — to smooth your every path — to 
make all that life borrows from Grace and Beauty your ministiant and 
handmaid ; — why, that were to make geld indeed a god ! But vaiu — 
vain — vain ! Bound by every tie of faith, gratitude, loyalty, and honor, 
to another i 

Claka. Another ! Is she, then, true to your reverses ? I did not 
know this — indeed I did not ! And I have thus betrayed myself ! [aside) 
0, shame I he must despise me now ! ^Clara goes up and sits at table, r.) 

Enter Sir John, r, ; at the same time Ghaves and Lady Franklin ad- 
vance from the inner room. 

Sir J. {with dignity and frankness). Evelyn, I was hasty yesterday. 
You must own it natural that I should be so. But Georgina has been 
so urgent in your defence — {as Lady Franklin comes down, r.) Sister, 
just shut the door, will you 1 — that 1 cannot resist her. What's money 
without happiness ? So give me your security ; for she insists on lend- 
ing you the £10,000. 

Eve. I know, and have already received it. 

Sir J. (c. — aside). Already received it ! Is he joking 1 Faith, for 
the last two days I believe I have been Jiving amongst the Mysteries of 
Ufiolpho ! {aloud) Sister, have you seen Georgina 1 

Lady F. (r.). Not since she went out to walk in the square. 

Sill J. {aside). She's not in the square, nor the house — where the 
deuce can the girl be 1 

Eve. I have written to Miss Vesey — I have asksd her to fix the day 
for our wedding. 

Sir J. (joyfully). Have youl Go, Lady Franklin, find her instantly 
— she must be back by this time; take my carriage— it is but a step — 
you will not be two minutes gone, {aside) Td go myself, but I'm afraid 
of leaving him a moment while he's in such excellent dispositions. 

Lady F. {repulsing Clara, who rises to follow). No, no ; stay till I re- 
turn. [Exit, B. 

Sir J. And don't be down-hearted, my dear fellow ; if the worst come 
to the worst, you will have everything 1 can leave you. Meantime, if I 
can in any way help you 

Eve. Ha ! — you ! — ycu, too 1 Sir John, you have seen my letter to 
Miss Vesey ? — {aside) or could she have learned the truth before she ven- 
tured to be generous ? 

Sir J. No ! on my honor. I only just called at the door on my way 
from Lord Spend — that is, from the City. Georgina was out ; — was ever 
anything so unlucky? {Voices without — "Hurrah — hurrah! Blue for 
ever !") What's that 1 

Enter Sharp, b. 

Sharp. Sir, a deputation from Groginhole — poll closed in an hour— 
you are returned ! Holloa, sir — holloa ! 

Eve. {aside). And it was to please Clara ! 

Sir J. Mr. Sharp — Mr. Sharp — I say, how much has Mr. Evelyn lost 
by Messrs. Flash and Co. 1 

Sharp, Oh, a great deal, sir — a great deal ! 



ACT T.] MONEY. 69 

Sir J. (alarmed). How? — a great deal ! 

Eve. Speak the truth, Sharp — concealment is all over, {ffoes up the 
stage. ) 

Shaup. £223 6s. 3cl. — a great sum to throw away ! 

Sir J. Ell ! what, my dear boy 1 — what? Ha ! ha ! all humbug, was 
it ] — all humbug ! So, Mr. Sharp, isn't he ruined, after all 1 — not the 
least wee, rascally little bit in the world ruined 1 

Sharp. Sir, he has never even lived up to his income. 

Sia J. Worthy man ! I could jump up to the ceiling ! I am the hap- 
piest father-in-ldw in the three kingdoms, {knocking^ b.) And that's my 
sisters knock, too ! 

Clara {rises, r.). Since I was mistaken, cousin — since now you do not 
need me — forget what has passed ; my business here is over. Farewell! 

Eve. Could you but see my heart at this moment, with what love, what 
veneration, what anguish it is filled, you would know how little, in the 
great calamities of lite, fortune is really worth. And must we part now, 
— now, when — when — I 

Enter Lady Franklin and Georgina, -b.., followed by Blount, who looks 
shy and embarrassed ; Clara retires and goes to l. table. 

Graves. Georgina herself — then there's no hope. 

Sir J. (L. — aside). What the deuce brings that fellow Blount herel 
{aloud) Georgy, my dear Georsy, I want to 

Eve. (c). Stand back. Sir John! 

Sir J. But I must speak a word to her — I want to 

Eve. Stand back, I say — not a whisper — not a sign. If your daugh- 
ter is to be my wife, to her heart only will 1 look for a reply to mine. — 
Georgina, it is true, then, that you trust me with your confidence — your 
fortune? It is also true, that when you did so you believed me ruined ? 
Oh, pardon the doubt! Answer as if your father stood not there — an- 
fc.ver me from that truth the world cannot yet have plucked from your 
soul — answer me as woman's heart, yet virgin and unpolluted, shoidd 
answer to one who has trusted to it his all ! 

Geor. (r. c. — aside). What can he mean 1 

Sir J. (l. c. — making signs). She'll not look this way — she will not — 
hang her — Hem! 

Eve. You falter. I implore — I adjure you — answer ! 

Lady F. Speak ! (Sir John makes an effort to speak ; Evelyn observes 
it.) 

Evf. Silencp, Sir John 1 

Geor. Mr. Evelyn, your fortune might well dazzle me, as it dazzled 
others. Believe me, I sincerely pity your reverses. 

Sir J. Good girl ! — you hear her, Evelyn. 

Geor. What's money without happiness 7 

Sir J. Clever creature ! — my own sentiments ! 

Geor. And so, as our engagement is now annulled 

Eve. Annulled ! 

Geor. Papa told me so this very morning — I have promised my hand 
where I have given my heart — to Sir Frederick Blount. (Clara goes 
dotvn, l.) 

Sir J. I told you — I — No such thing — no such thing ; you frishten 
her out of her wits — she don't know what's she's saying ! {goes up and 
over to R.) 

Eve. Am I awake ? But this letter — this letter, received to-day 

Lady F. f looking over the Ptter). Drummond's — frotn a banker t 

Evf. Rea'— read ! 



60 MONEY. [act T. 

Lady F. " £10,000 just placed to your account — from the same un- 
known friend to Evelyn." Oh, Clara, I know now why you went to 
Brurnmond's this raorninfj. 

Eve. Clara ! What ! — and the former note with the same signature, 
on the faith of which I pledged my hand and sacrificed my heart 

Lady F. Was written under my eyes, and the secret kept that 

Eve. I see it all — how could I be so blind? I am free ! — I am re- 
leased ! — Clara, you forgive me 1 — you love me 1 — you are mine ! We 
are rich — rich ! I can give you fortune, power — I can devote to you 
my whole life, thought, heart, soul — I am all yours, Clara — my own — 
my wife ! {kneels ; she gives him her hand ; they embrace.) 

Sir J. {to Georgina). A pretty mess you've made, to humbug your 
own father! And you too, Lady Franklin — I am to thank you for this ! 
(Evelyn placesChX^k. in a chair up l.) 

Lady F. You've to thank me that she's not now on the road to Scotland 
with Sir Frederick. I chanced on them by the Park just in time to dis- 
suade and save her. But, to do her justice, a hint of your displeasure 
was sufficient. 

Geor. {half -sobbing). And you know, papa, you said this very morn- 
ing tiiat poor Frederick had been very ill-used, and you would settle it 
all at the club. 

Blount. Come, Sir John, you can only blame yourself and Evelyn's 
cunning device. After all, I'm no such vewy bad match ; and as for 
the £10,000 

Eve I'll double it. Ah, Sir John, what's money without happiness ? 
{slaps Sir John on the shoulder and retires.) 

Sir J. Pshaw — nonsense — stuff! Don't humbug me ! 

Lady F. But if you don't consent, she'll have no husband at all. 

Sir J. Hum I there's something in that, {aside to Evelyn) Double it, 
will you % Then, settle it all tightly on her. Well — well — my foible is 
not avarice. Blount, make her happy. Child, I forgive you. {pinching 
her arm) Ugh, you fool ! (Blount ««^ Georgina go up, l.) 

Graves {comes forward with Lady Franklin). I'm afraid it's catch- 
ing. What say you ? I feel the symptoms of matrimony creeping all 
over me. Shall we, eh ? Frankly, now, frankly 

Lady F. Frankly, now, there's my hand. 

Graves. Accepted. Is it possible ? Sainted Maria ! thank Heaven 
you are spared this affliction ! {goes up c.) 

Enter Smooth, k. 

Smooth. How d'ye do, Alfred '? I intrude, I fear ! Quite a family 
party. 

Blount. Wish us joy, Smooth — Georgina's mine, and 

Smooth. And our four friends there apparently have made up another 
rubber. John, my dear boy, yon look as if you had something au stake 
on the odd trick, [crosses to l.) 

Sir J. Sir, your very — Confound the fellow — and he's a dead shot, too ! 

Enter Stout and Glossmork hastily., talking with each other, R. 

Gloss. My dear Evelyn, you were out of humor yesterday — but I for- 
give you. (Evelyn takes his hand.) 

Stout. Certainly ! (Evelyn crosses, c.) what would become of public 
life if a man were oblised to be two days running in the same mind 1 — I 
rise to explain. Just heard of your return, Evelyn. Congratulate you. 



ACT v.] MONET. 61 

The great motion of the session is fixed for Friday. We count on your 
vote. Progress with the times. 

Gloss. Preserve the Constitution ! 

Stout. Your money will do wonders for the party ! Advance ! 

Gloss. The party respects men of your property. Stick fast ! 

Eve. I have the greatest respect, 1 assure you, for the worthy and in- 
telligent flies upon both sides of the wheel ; but whether we go too fa^t 
or too slow does not, I fancy, depend so much on the flies as on the Stout 
Gentleman who sits inside and pays the post-boys. Now, all my politics 
as yet is to consider what's best for the Stout Gentleman ! 

Smooth. Meaning John Bull. Ce cher, old John ! (Evelyn crosses io 
Smooth and takes his hand.) 

Eye. Smooth, we have yet to settle our first piquet account and our 
last. And I sincerely thank you for the service you have rendered to 
me, and the lesson you have given these gentlemen, {returns to c.-, all 
the characters take their positions for the end. Turning to Clara) Ah, 
Clara, you — you have succeeded where wealth had failed ! You have 
reconciled.rae to the world and to mankind. My friends — we must con- 
fess it — amidst the humors and the follies, the vanities, deceits, and 
vices that play their parts in the great Comedy of Life — it is our own 
fault if we do not find such natures, though rare and few, as redeem the 
rest, brightening the shadows that are fltuig from the form and body of 
the time with glimpses of the everlasting holiness of truth and love. 

Graves. But for the truth and the love, when found, to make us tol- 
erably happy, we should not be without 

Lady F. Good health ; 

Graves. Good spirits ; 

Clara. A good heart ; 

Smooth. An innocent rubber ; 

Geor. Congenial tempers ; 

Blount. A pwoper degwee of pwudence ; 

Stout. Enlightened opinions ; 

Gloss. Constitutional principles ; 

Sir J. Knowledge of the world ; 

Eve. And — plenty of money ! 

Disposition of the Characters at the fall of the Curtain. 



1 

Blount. 
Georgina. 
Glossmore. 
Stout. 


(JLARA. Evelyn. 

Lady Franklin. 

Graves. 
Smooth. 
Sir John. 


E. 


L. 

CURTAIN. 




— -"Sweetest Shake-^pere, Natiire''3 child , 
Warbles his native wood-notes wild."— Milton. 

Please notice that nearly all the Comedies y Farces and 
Comediettas in the following List of *'De Witt's Acting Plays" 
are very suitable for representation in small Amateur Theatres 
and on Parlor Stages, as they need but little extrinsic aid from 
complicated scenery or expensive costumes. They have attained 
their deserved popularity by their droll situations, excellent 
plots, great humor and brilliant dialogues, no less than by the 
fact that they are the most perfect in every respect of any edi- 
tion of Plays ever published either in the United States or 
Europe, whether as regards purity of the text, accuracy and 
fulness of stage directions and scenery, or elegance of typo- 
graphy and clearness of printing. 

'*..;:* In ordering, please copy the figures at the commencement of oach 
piece, which indicate the number of the pieoe in "De Witt's List op 
AcTixNG Plays." ^ '^ ^ 

^^ Any of the following Plays sent, postage free, on receipt of 
price — fifteen cente. 

Address, ROBERT M. DE WITT, 

J^o. SS ^os€ street, JVen' TorA. 

DS T^ITT'S ACTIUG Tlu£J^^, 

No. 

1 CASTE. An original Comedy in three acts, by T. W. 

Robertson. A U\ t'iy and eiiecti\ e t^aiiixj upon the times, played successfully in 
America, sU Wallack^s. Five male and three female characters. Costumes, 
I modern. Scenery, the first and third acts, interior of a neat room ; the second 

I a fashionable room. Time in representation, two Iiours and forty minutes. 

I 2 NOBODY'S CHILD. A romantic Drama in tiiree acts, by 

Watts Phillips. Eighteen male and three female characters. A domestic 
drama, wonderfully successful in London, as it alx)unds in stirring scenes 
and capital situations. Costume;? modern, suited to rural life in Wales. 
Scenery is wild and picturesque. Time in representation, two hours and a 
quarter. 

£100,000. An orip-inal Comedy in three acts, by Henry J. 

Byron. Eight male and four female characters. A most effective piece, 
played with applause at Wailacii's. Costumes of the day. Two scenes are 
required— a comfortably furnished parlor and an elegoait apartment. Time 
in representation, one hour and three quarters. ^ 



DE WITT'S ACTING PLAYS. 



4 DANDELION'S DODGES. A Farce in one act, by Thomas 

J. Williams. Four male and two female characters. A rattling piece. The 
part of Dandelion excellent for a low comedian. Costumes of the day. Sce- 
nery, a picturesque landscape. Time in representation, fifty minutes. 

5 WILIilAM TELL WITH A VENGEANCE; or, the Pet, 

the Patriot and the Pippin. A grand new Burlosque by Henry J. Byron. 
Eight male and two female characters. liepletc with telling allusions. Cos- 
tumes of the period of the middle ages, grotesquely exaggerated. Five 
scenes in Switzerland. Time in representation, one hour. 

6 SIX MONTHS AGO. A Comedietta in one act, by Felix 

Dale. Two male and one female characters. A really effective little piece, 
suited to amateurs. Costumes of the day. Scene, morning room in a country 
house. Easily produced. Time in representation, forty minutes. 

7 MAUD'S PERIL. A Drama in four acts, by Watts 

Phillips. Five male and three female characters. Strong and sensational. 
Costume of English country life of the period. Scenery not elaborate. Time 
in representation, two hours and a half. 

8 HENRY DUNBAR ; or, a Daughter's Trials. A Drama 

in four acts, by Tona Taylor. Ten male and three female characters. One 
of the best acting plays of the day. Costumes of the period. Scenery 
modern English. Time in representation, three hours. 

9 A FEARFUL TRAGEDY IN THE SEVEN DIALS. 

A farcical interlude in one act, by Charles Selby. Four male and one 
female characters. A very laughable piece, easily produced ; certain to bring 
down the house. Costumes of the day. Scene, a genteelly furnished bed- 
room. Time in representation, forty minutes. 

10 THE SNAPPING TURTLES; or, Matrimonial Masque- 

rading. A duologue in one act, by John JS. Buclsstone. One male ana one 
female character, who assume a .second each. A very ludicrous farce ; has 
been eminently successful. Costumes of the day. Scene, a drawing room. 
Time in representation, one hour. 

11 W^OODCOCK'S LITTLE GAME. A Comedy Farce in 

two acts, by J. Maddison Morton. Four male and four female characters. 
A sparkling, lively composition, by one of the most humorous dramatic 
authors. The part of Woodcock has been performed by Charles Mathews 
and Lester Wallack. Costumes of the period. Scenery, modern apartments, 
handsomely furnished. Time in representation, one hour. 

12 A W^IDOW HUNT. An original Comedy in three acts, 

by J. Sterling Coyne. Four male and four female characters. An inge- 
nious and well known alteration of the same author's " Everybody's Friend," 
the part of Major Wellington de Boots having l)een rendered popular by Mr. 
J. S. Clarke in England and America. Costumes and scenery of the 
period. Time in representation, two hours and a half. 

13 RUY BLAS. A romantic Drama in four acts, from the 

French of Victor Hugo. Twelve male and four female characters. This 
piece was eminently successful in London when produced by Mr. Fechter. 
It contains numerous scenes, capable of being performed unconnected with 
the drama, by amateurs. Spanish costumes of 1G92. Scenery, halls and apart- 
ments in the royal palace at Madrid. Time in representation, three hours 
and a half. 

14 NO THOROUGHFARE. A Drama in five acts, with a 

prologue, by Charles Dickens and Wilkie Collins. Thirteen male and six 
female characters. Very successful as produced by Fechter in England and 
by Florence in America. Costumes modern but often changed. Scenery 
complicated ; English exteriors, Swiss interiors and Alpine passes. Time 
in representation,^ three hours and forty minutes. 

11; MILKY WHITE. A domestic Drama m two acts byH. 

T. Craven. Four male and two female characters. A good acting, pathetic 
piece. Costumes English, of the present day. Scenery, an exterior and in- 
terior. Time in representation, one hour and a half. 



DE WITT'S ACTING PLAYS. 



No. 

16 DEARER THAN LIFE. A serio-comic Drama in three 

acts, by Henry J. Byron. Six male and five female characters. An effective 
piece, which could be readily performed by amateurs with success. Cos- 
tumes, Enpflish of the c'ay. Scenery, two interiors, easily arranged. Time in 
representation, two Lours. 

17 KIND TO A FAULT. An original Comedy in two acts, 

by William Brough. Six male and four female characters. A well written 
composition with well drawn characters. Costumes of tho present day. 
Scenery, two elegantly furnished interiors. Time in representation, one 
hour and twenty minutes. 

18 IF I HAD A THOUSAND A YEAR. A Farce in one 

act, by John Maddison Morton. Four male and three female charac- 
ters. A sp'endid social sketch— the part of Green being excel ent for a good 
li^'ht comedian. Costumes of the present day ; and scouery, a neatly fur- 
nished interior. Time in representation, one hour and fifteen minutes. 
% 

19 HE'S A LUNATIC. A Farce in one act, by Felrs: Dale. 

Three male and two female characters. A sprightly, laughter-provoking 
production. Modern drc sses ; and scene, a drawing room. Time in repre- 
sentation, forty minutes. 

20 DADDY GRAY. A serio-comic Drama in three acts, 

by Andrew Halliday. Eight male and four female characters. One of the 
author's most effective and natural compositions. Dresses of the present day. 
Scenery, interior of a cottage, a lawyer's office, street and archway, and 
cottage with landscape. Time in representation, two hours. 

21 DREAMS ; or, My Lady Clara. A Drama in five acts, by 

T. W. Robertson. Six male and three female characters. Full of thrilling 
incidents, with several excellent parts for both male and female. Was suc- 
cessfully brought out at the Boston Museum and New York Fifth Avenue 
Theatre. Costumes, modern German and English. Scenery, interiors and 
gardens, rather complicated, but effective. 

22 DAVID GARRiCK. A Comedy in three acts, by T. W. 

Kobertson. Eight male and three female characters. Most effectively per- 
formed by Mr. Suthern in England and m America with decided success. Cos- 
tumes, court dresses. Scenery, two interiors antiquely furnished. Time in 
representation, one hour and three quarters. 

23 THE PETTICOAT PARLIAMENT. An Extravaganza 

in one act, by Mark Lemon. Fifteen male and twenty-four female charac- 
ters. A revision of the "House of Ladies." Performed with great success 
at Mitchell's Olympic in New York. The costumes are extremely fanciful 
and exaggerated. Scenery, modern English. Time in representation, one 
hour and five minutes. 

24 CABMAN No. 93; or? Found in a Four "Wheeler. A 

Farce in one act, by Thomas J. Williams. Two male and two female char- 
acters. A ludicrous piece, with a cabman for the first low comedian, and a 
stock broker as eccentric character part. Costumes of present day. Scene, 
a furnished room. Time in representation, forty minutes. 

25 THE BROKEN HEARTED CLUB. A Comedietta, by 

J. sterling Coyne. Four male and eight female characters. A laughable 
satire on the Women's Rights movement. Costumes modern English. 
Scenery, a drawing room. Time in representation, thirty minutes. 

26 SOCIETY. A Comedy in three acts, by T. W. Robert- 

son. Sixteen male and five female characters. A plav exceedingly popular, 
intended to exhibit the foibles of British Society and to ridicule the election 
system. Costumes of the present day. Scenery elaborate. Time in repre- 
sentation, two hours and a half. 

21 TIME AND TIDE. A Drama in three acts and a pro- 
logue, by Henry Leslie. Seven male and five female characters. An effec- 
tive piece, with novel and striking incidents. Costumes English, present 
day. Scenery, London marine scenery. Time in representation, two hours. 



DE WITT'S ACTING PLATS. 



No. 

53 GERTRUDE'S MONEY BOX. A Farce in one act, hy 

Harry Lemon. Four male and two female characters. A successful, well 
written piece; an incident in rural life. Costumes of the present time. 
Scene, interior of a cottage. Time in repi'esentation, forty -five minutes. 

54 THE YOUNG COLLEGIAN (The CaataTj). A Farce in 

one act, by T. W. Robertson. Three male and two female characters. A 
rattling piece, filled with ludicrous situations, which could be splendidly 
worked up by a good light comedian. Costumes modern ; and scene, a 
handsome interior. Time in representation, fifty minutes. 

55 CATHARINE HO"WARD ; or, the Throne, the Tomh 

and the Scaffold. An historical play in three acts [from the celebrated 
play of that name, by Alexander Dum;is] ; adapted by W. D. Suter. Twelve 
male and five female characters. A most successful acting drama in both 
France and England. Costumes of the period of Henry till of England, 
artistic and rich. Scenery elaborate and historical. Time in representa- 
tion, twe hours and a half. 

56 TWO GAY DECEIVERS ; or, Black, White and Gray. 

A Farce in one act by T.W.Robertson. Three male characters. Adapted 
from the French of one of the most laughable vaudevilles on the Parisian 
stage. Costumes of present day. Scene, a cell in a police station. Time in 
representation, forty minutes. 

57 NOEMIE. A Drama in t-wo acts, translated and adapt- 

ed from the French of Dennery and Clement by T. W. Robertson. Four 
male and four female characters. Originally acted in Paris, this piece created 
such a sensation that it was produced subsequently at all the leading theatres 
of London. Costumes modem. Scenery, a garden scene and a richly 
furnished interior. Time in representation, one hour and a half. Eusily 
put on the stage. 

58 DEBORAH (LEAH) ; or, the Jewish Maiden's Wrong. 

A Drama in three acts, by Charles Smith Cheltnam. Seven male and six 
female characters. A strangely effective acting play. Costumes pictur- 
esque j^et simple. Scenery elaborate and cumbersome to handle. Time in 
representation, two hours and fifteen minutes. Elegant extracts can be 
taken from this drama. 

59 THE POST BOY. An original Drama in two acts, by 

n. T. Craven. Five male and three female characters. Very successful. 
Costumes modern. Scenery, two interiors. Time of playing, an hour and 
a half. 

60 THE HIDDEN HAND; or, the Gray Lady of Perth 

Vennon. A Drama in four acts, by Tom T^uior. Five male and five female 
characters. Costumes of the jJeriod of James II of England. Scenery 
somewhat elaborate. Time in representation, twa hours and a half. 

61 PLOT AND PASSION. A Drama in three acts [from 

the French], by Tom Taylor. Seven male and two female characters. A 
neat and well constructed play, admirably adapted to amateur representation. 
Costumes of tiie period of the First Empire, rich and attractive. Scenes, an 
interior in a French mansion, and one in a country villa. Time in represen- 
tation, one hour and a half. 

62 A PHOTOGRAPHIC FIX. A Farce in one act, hy 

Frederick Hay. Three male and two female characters. A brilliant, witty 
production. Costumes of the day. Scene, a photographic room. Time in 
representation, thirty-five minutes. 

63 MARRIAGE AT ANY PRICE. A Farce in one act, hy 

J. P. Wooler. Five male and three female characters. A decided success in 
London. Costumes of the day. Two scenes, a plain chamber and a garden. 
Time in representation, thirty minutes. 

64 A HOUSEHOLD FAIRY. A domestic Sketch in one act, 

by Francis Talfourd. One male and one female character. A gem in its line ; 
artit'tic, dramatic and very natural. Modern costumes, and scene a poorly 
furnished apartment. Time in playing, twenty-five minutes. 



DE WITT'S ACTING PLAYS. 



No. 

65 CHECKMATE. A Comedy in two acts, by Andrew Hal- 

liday. Six male and five female characters. Costumes, English, of the pres- 
ent day. Scenes, interior of a country hotel, and exterior of same, with 
landscape. Time in representation, one hour and a half. 

66 THE ORANGE GIRL. A Drama in a prologue and 

three acts, by Harry Leslie and Nicholas Kowe. Eighteen male and four 
female characters. Costumes of the ])resent day ; this pieoe requires con- 
siderable scenery, and some of an especial nature. Time in representation, 
two hours and a quarter 

67 THE BIRTHPLACE OF PODGERS. A Farce in one 

act, by John HoUingshead. Seven male and three female characters. A 
capital acting extravaganza, introducing a number of eccentric personages. 
Costumes of the present time. Scene, a workingman's room. Time in repre- 
sentation, forty minutes. 

68 THE CHEVALIER DE ST. GEORGE. A Drama in 

three acts, adapted from the French of MM. Velesviile and Roger de Beauvoir, 
by T. W. Robertson. Nine male and three female characters. A very popu- 
lar and favorite play. Costumes, very rich, in velvet, court and hunting 
dresses, breeches, stockings, &c. Scenery, a tavern and garden, an interior, 
style Louis Seize, and a plainer interior. Time in representation, one hour 
and a half. 

69 CAUGHT BY THE CUFF. A Farce in one act, by 

Frederick Hay. Four male and one female characters. An exquisitely 
ludicrous production, crammed with situations. Costumes of the day. 
Scene, a kitchen. Time in representation, forty minutes. 

70 THE BONNIE FISHWIFE. A Farce in one act, by 

Charles Selby, Comedian. Three male anrid one female characters. A very 
sprightly piece, in which the lady is required to sinj;, and to be capable of 
assuming the Scottish dialect. The costumes, although modern, involve 
eccentric Scottish and deer stalking dresses. Scenes, a handsome chamber 
and interior of Highland cottage. Time of playing, forty-five minutes. 

71 DOING FOR THE BEST. A domestic Drama in two 

acts, by M. Rophino Lacy. Five male and three female characters. An 
effectiveactingpiece, popular in London. Costumes of the day. Twoscenes, 
one interior of cottage, the other a drawing room. Time in representation, 
one hour and a half. 

72 A LAME EXCUSE. A Farce in one act, by Frederick 

Hay. Four male and two female charaeters. Costumes of the day. Scene, 
a handsome interior. Time in represention, thirty-five minutes. 

73 A GOLDEN FETTER (FETTERED). A Drama in three 

acts, by Watts Phillips. Eleven male and four female characters. Costumes 
of the present time. Scenery extensive and peculiar to the piece. Time in 
representation, one hour and a half. 

74 THE GARRICK FEVER. A Farce in one act, by J. R. 

Plauche. Seven male and four female characters. Costumes of the year 
1742— court dresses, regimentals, velvet trains, &c. Scenery, a plain interior. 
Time of represantation, forty-five minutes. 

75 ADRIENNE ; or, the Secret of a Life. Drama in three 

acts, by Harry Leslie. Seven male and three female characters. A telling 
romantic drama. Italian and French costumes, civil and military. Scenery, 
elaborate interiors and landscapes. Time in representation, one hour and 
forty-five minutes. 

76 THE CHOPS OF THE CHANNEL. An original Nauti- 

cal Farce in one act, by Frederick Hay. Three male and two female 
characters. A very mirth exciting and whimsical composition. Costumes 
of the present day. Scene, the saloon of a steamer. Time in representation, 
forty minutes. 



DE WITT'S ACTING PLAYS. 



No. 

77 THE ROLL OF THE BRXJM.^A romantic "Drama, in 

three acts, by Thomas Egerton Wilks. Eight male and fonr female charac- 
ters. A standard piece with the British theatres. Costumes of the period of 
the first French revolution. Scenery, interior of a farm house, a picturesqne 
landscape and a drawing room. Time in representation, one hour and forty- 
five minutes. 

78 SPECIAL PERFORMANCES. A Farce in one act, by 

Wilmot Harrison. Seven male and three lemale characters. A most ludi- 
crous, ingenious and sprightly production. Dresses of the present day. 
Scene, a chamber. Time in performance, forty minutes. 

79 A SHEEP IN "WOLF'S CLOTHING. A domestic Brama 

in one act, freely adapted from Madame de Girardin's " Une I'emme qui 
deteste Son Mari,''' by Tom Taylor. Seven male and five female characters. 
A neat and pleasing domestic play, founded upon incidents following Mon- 
mouth's rebellion. Costumesof the time of James 11 of England. Sceiae, a 
tapestried chamber. Time of playing, one honr. 

80 A CHARMING PAIR. A Farce in one act, by Thomas 

J. Williams. Four male and three female characters. Costumes of the pre- 
sent day. Scene, a handsomely furnished apartment. Time in representa- 
tion, forty minutes. 

81 VANDYKE BROIVN. A Farce in one act, by Adolpbus 

Charles Troughton. Three male and three female characters. Popular 
wherever performed. Costumes of the present day. Scene, a chamber, 
backed by a window. Time of representation, one hour. 

82 PEEP O' DAY; or, Savonrneen Dhcelisb. An Irish 

romantic Drama in four acts (derived from "^ Tales of the O'Hara Family"), 
by Edmund Falconer. The New "Drury Lane '' version. Twelve male and 
four female characters. Costumes, Irish, m the year 1798. Scenery, aMustra- 
tive of Munster. Time in representation, tha-ee hour*. 

83 THRICE MARRIED. A personation piece in one act, 

by Howard Paul. Six male and one female characters. The 3ady sings, 
dances and assumes personification of a French vocalist, of a Spanish dancer 
and of a man of fashion. Costumes of the day. Scene, a 2:00m in a lodging 
house. Time in representation, three quarters of an hour. 

84 )T GUILTY. A Drama in fanr acts, by Watts Phillips, 

en male and six female characters. A tlirilling drama f aund upon a fact. 
.?ostumes of the present day. Scenery illustrative of localities about 
Southampton and its harbor, and of other* in India. Time is representa- 
tion, three hours. 

85 LOCKED IN "WITH A LADY. A Sketch from Life, 

by H. R. Addison. One male and one female character. A very pleas- 
ing and humorous interlude. Costume of the day, and s^ene a bachelor's 
apartment. Time in representation, thirty-five miautes. 

86 THE LADY OF LYONS; or,Love and Pride. A Play in 

five acts, by Lord Lytton (Sir Edward Lytton Bulwer). Twelve male iive 
female characters. Four of the male characters are very good ones ; and 
Pauline, Madame Deschapelles and the Widow Melnotte are each excellent 
in their line. The piece abounds in eloquent declamation and sparkling' 
dialogiie. This edition is the most complete in all respects ever issued. It 
occupies three hours in representation. The scenery, gardens and interior 
of cottage and mansion. Costumes French, of 1795. 

87 LOCKED OUT. A Comic Scene, illustrative of what may 

occur after dark in a great metropolis ; by Howard Paul. One male and two 
female characters, with others unimportant. Scene, a street ; dress, mod- 
ern. Time in playing, thirty minutes, 

88 FOUNDED ON FACTS. A Farce in one act, by J. P. 

Wooler. • Four male and two female characters. A favorite actin" piece, 
easily put on the stage and never failing in success. Costumes of the pres- 
ent day. Scene, a hotel parlor. Time in representation, thirty-five minutes. 



DE WITT'S ACTING PLAYS. 



89 AUNT CHARLOTTE'S MAID. A Farce in one act, y 

J. Maddison Morton. Three male and three female characters. One of the 
best of this prolific humorist's dramatic pieces. Uresses of the period, and 
scene an apartment in a dwelling house. Time in representation, forty 
minutes. 

90 ONLY A HALFPENNY. A Farce in one act, by John 

Oxenford. Two male and two female characters. Dresses of the present 
day, and scene an elegantly furnished interior. Time in representation, 
thirty-five minutes. 

91 WALPOLE ; or. Every Man has his Price. A Comedy in 

rhyme, by Lord Lytton. Seven male and two female characters. Costumes 
of the period of George I of England. Scenery illustrative of London locali- 
ties, and residences of the same era. Time of playing, one hour and ten 
minutes. 

92 MY WIFE'S OUT. A Farce in one act, by G. Herbert 

Rodwell. Two male and two female characters. This piece had a suc- 
cessful run at the eovent Garden Theatre, London. Costume modern, and 
scene an artist's studio. Time in representation, forty minutes. 

93 THE AREA BELLE. A Farce in one act, bv William 

Brough and Andrew JFIalliday. Three male and two female characters. 
Costumes of the present time, and scene a kitchen. Time in performing, 
thirty minutes. 

94 OUR CLERKS ; or, No. 3, Fig Tree Court, Temple. An 

original Farce, in one act. Seven male and five female characters. Costumes 
modern, and scene a large sitting room solidly furnished. Time in represen- 
tation, sixty-five minutes. 

95 THE PRETTY HORSE BREAKER. A Farce, by Wil- 

liam Brough and Andrew Halliday. Three male and ten female characters. 
Costumes modern English, and scene a breakfast room in u fashionble man- 
sion. Time of playing, forty-five minutes. 

96 DEAREST MAMMA. A Comedietta in one act, by W^al- 

ter Gordon. Four male and threa female characters. Costume modern 
English, and scene a drawing room. Time in representation, one hour. 

97 ORANGE BLOSSOMS. A Comedietta in one act, by J. 

P. Wooler. Three male and three female characters. Costume of the 
present day, and scene, a garden with summer house. Time in playing, 
fifty minutes. 

98 W^HO IS W^HO ? or, All in a Fog. A Farce, adapted 

from the French, by Thomas J. Williams. Three male and two female char- 
acters. Costumes, modern English dresses, as worn by country gentry ; and 
scene, parlor, in an old fashioned country house. Time of playing, thirty 
minutes. 

99 THE FIFTH WHEEL. A Comedy in three acts. Ten 

male and two female characters. An excellent American production, easily 
managed. Costumes of the modern day. Scenery not complicated. Time 
of representation, about one hour and three quarters. 

100 JACK LONG. A Drama in two acts, by J. B. John- 

stone. Nine male and two female characters. Costume of the frontiers. 
Scenery illustrative of localities on the Texan frontier. Time of perform- 
ance, one hour and twenty minutes. 

101 FERNANDE ; or. Forgive and Forget. ADramainthree 

acts, by Victorien Saidou. Eleven male and ten female characters. This 
is a correct version of the celebrated play as performed in Paris and adapt- 
ed to the English stage, by Henry L. Williams, Jr. Costumes, modern 
French. Scenery, four interiors. Time In representation, three hours. 

102 FOILED ; or, a Struggle for Life and Liberty. A Drama 

in four acts, by O. W. Cornish. 9 males, 8 females. Costumes, modem 
American. Scenery— a variety of scenes requireQ, but none elaborate. 
Time in representation, three and a half hours. 



DE WITT'S ACTING PLAYS. 



No. 

103 FAUST AND MARGUERITE. A romantic Drama in 

three act8, translated from tlie French of Michel Carre, by Thomas 
William Robertson. Nine male and seven female characters. Costumes 
German, of the si.xteonth century ; doublets, trunks, tights. Scenery, a 
laboratory, tavern, garden, street and tableau. Time in representation, 
two hours. 

104 NO NAME. A Drama in five acts, bsr Wilkie Collins. 

Seven male and five female characters. A dramatization of the author's 
popular novel of the same name. Costumes of the present day. Scenery, 
four interiors and a sea view. Time in representation, three hours. 

105 WHICH OF THE TWO. A Comedietta in one act, l)y 

John M. Morton. Two male and ten female characters. A very neat and 
interesting petty come ly. Costume Russian. Scene, public room of an 
Inn. Time of playing, lifty minutes. 

106 UP FOR THE CATTLE SHOW. A Farce in one act, 

by Harry Lemon. Six male and two female characters. Costumes Eng- 
lish, of the present day. Scene, a parlor. Time in representation, forty 
minutes. 

107 CUPBOARD LOVE. A Farce in one act, "by Frederick 

Hay, Two male and one female characters. A good specimen of broad 
comedy. Dresses modern, and scene, a neatly furnished apartment. 
Time in representation, twenty minutes. 

108 MR. SCROGGINS; or, Change of Name. A F-^rce in 

one act, by William Hancock. Three male and three female characters. 
A lively piece. Costumes of the present day. Scene, a drawing room. 
Time in representation, forty minutes. 

109 LOCKED IN. A Comedietta in one act, by J. P. Wool- 

er. Two male and two female characters. Costumes of the period. Scen'^, 
a drawing room. Time in representation, thirty minutes. 

110 POPPLETON'S PREDICAMENTS. A Farce in one 

act, by Charles M. Rae. Three male and six female characters. Costumes 
of the day. Scene, a drawing room. Time in representation, forty min- 
utes. 

111 THE LIAR. A Comedy in two acts, "by Samuel Foote. 

Seven male and two female characters. One of the best acting plays in 
any language. Costumes, embroidered court dresses, silk sacques, &c ; 
still the "modern dress will suffice. Scenes— one, a park, the other a draw- 
ing room. Time in representation, one hour and twenty minutes. This 
edition, as altered by Charles Mathevrs, is particularly adapted for amateurs. 

112 NOT A BIT JEALOUS. A Farce in one act, by T. W. 

Robertson. Three male and three female characters. Costumes of the 
day. Scene, a room. Time of playing, forty minutes. 

113 CYRIL'S SUCCESS. A Comedy in five acts, by Henry 

J. Byron. Ten male and four feaiale characters. Costumes modern. 
Scenery, four interiors. Time in representation, three hours twenty 
minutes. 

114 ANYTHING FOR A CHANGE. A petite Comedy in 

one act, by Shirley Brooks. Three male and three female characters. 
Costumes present day. Scene, an interior. Time in representation, fifty- 
one minutes. 

115 NEW^ MEN AND OLD ACRES. A Comedy in three 

acts by Tom Taylor. Eight male and five female characters. Costumes 
present day. Scenery somewhat complicated. Time in representation, 
two hours. 

116 I'M NOT MESILF AT ALL. An original Irish Stew 

in one act, by C. A. Maltby. Three male and two female characters. Cos- 
tume of present day, undress uniform, Irish peasant and Highland dress. 
Scene, a room. Time in playing tweuty-eighl; minutes. 



DE WITT'S ACTING PLAYS. 



No. 

117 NOT SUCH A FOOL AS HE LOOKS. A farcical 

Drama in three acts, by Henry J. Byron. Five male und four female char- 
acters. Excellent for amateurs. Costumes of the day. Scenery, three 
interiors. Time in representation, two hours. 

118 WANTED, A YOUNG LADY. A Farce in one act, by 

W. E. Suter. Three male characters. Effective for amateurs. Costumes 
of the day. Scene, a room. Time in playinj?, forty minutes. 

119 A LIFE CHASE. A Drama in five acts, by Adolph 

Belot ; translated by John Oxenford and Horace Wigan. Fourteen male 
and five female characters. Costumes modern French. Scenery elaborate. 
Time in representation, two hours and twenty minutes. 

120 A TEMPEST IN A TEAPOT. Petite Comedy in one 

act. Two male and one female characters. Admirably adapted for private 
performance. Costumes of the day. Scene, an interior. Time of repre- 
sentation, thirty-five minutes. 

121 A COMICAL COUNTESS. A Farce in one act, by Wil- 

liam Brough. Three male and one female characters. Costumes French, 
of last century. Scene, a draAving room. Time in representation, lorty 
minutes. 

122 ISABELLA ORSINI. A romantic Drama in fonr acts, 

by S. H. Mosenthal. Eleven male and four female characters. Costumes 
Italian, three hundred years ago. Scenery complicated. Time in repre- 
sentation, three and a half hours. 

123 THE TW^O POLTS. A Farce in one act, by John 

Courtney. Four male and four female characters. Costumes modern. 
Scenery, a street and two interiors. Time in representation, forty-five, 
minutes. 

124 THE VOLUNTEER REVIEW^ ; or, The Little Man in 

Green. A Farce in one act, by Thomas J. Williams. Six male and six 
female characters. Easily localized, as the " Homo Guard," or "Militia 
Muster." Costumes of the day ; and scene, a room. Time in representa- 
tion, forty-five minutes. 

125 DEERFOOT. A Farce in one act, by T. C. Burnand. 

Five male and one female characters. Costumes of the day; and scene, a 
public house. Time in playing, thirty-five minutes. 

126 TWICE KILLED. A Farce in one act, by John Ox- 

enford. Six male and three female characters. Costumes modern ; scene, 
landscape and a drawing room. Time in playing, forty-five minutes. 

127 PEGGY GREEN. A Farce in one act, by Charles Selby. 

Three male and ten female characters. Costumes of the present day. 
Scene, a country road. Time iu representation, forty-five minutes. 

128 THE FEMALE DETECTIVE; or, The Mother's Dying 

Child. A Dr^ma in three acts, by 0. H. Haulewood. Eleven male and 
four female characters. Costumes of fifty years since. Scenery very 
elaborate. Time of playing two hours. ^ 

129 IN FOR A HOLIDAY. A Farce in one act, by F. C. 

Burnand. Two male and tly^ee female characters. Costumes of the period, 
and scene an interior. Time in performance, thirty-five minutes. 

130 MY W^IFE'S DIARY. A Farce in one act. From the 

French of MM. Dennery and Clairville, by T. W. Kobertson. Three male 
and one female characters. Costumes modern French, and scene a drawing 
room. Time in representation, fifty minutes. 

131 GO TO PUTNEY. A Farce in one act, by Harry 

Lemon. Four male and three female characters. Excellent for amateurs. 
Costumes of the day ; scene, a drawing room. Time in representation, 
forty -five minutes. 



DE WITT^S ACTING PLAYS. 



132 A RACE FOR A DINNER. A Farce in one act, by 

J. F. G. Eodwell. Ten male characters. A sterling piece. Costnmes of 
the day. Scene, a tavern exterior. Time in representation, sixty minutes. 

133 TIMOTHY TO THE RESCUE. A Fayce in one act, 

by Henry J. Byron. Four male and two female characters. In this 
laughable piece Spangle assumes several personifications. Costnmes of 
the day, and scene a plain interior. Time in representation, forty-five 
minutes. 

134 TOMPKINS, THE TROUBADOUR. A Farce in one 

act, by MM. Lockroy and Marc Michel. Three male and two female char- 
acters. Costumes modern, and scene an ironmonger's shop. Time in play- 
ing, thirty-five minutes. 

135 EVERYBODY'S FRIEND. A Comedy in tliree acts, 

by J. Sterling Coyne. Six male and five female characters. Costumes 
modern, and scenery three interiors. Time in performance, two and a 
half hours. 

136 THE WOMAN IN RED. A Drama in three acts and 

Prologue, by J. Sterling Coyne. Six male and eight female chaiacters. 
Costumes French and Italian. Scenery complicated. Time of playing, 
three hours and twenty-five minutes. 

131 li' ARTICLE 47; or Breaking: the Ban. A Drama in 

three acts, by Adolph Belot, adapted to the English stage by Henry L. 
Williams. Eleven male and five female characters. Costumes French, 
of the day. Scenery elaborate. Time in representation, three hours aiid 
ten minutes. 

138 POIiL AND PARTNER JOE ; or. The Pride of Pnt- 

ney and the Pressing Pirate. A Burlesque in one act and four scwnes, by 
F. C. Burnand. Ten male and three female characters. (Many of the male 
characters are performed by ladies.) Costumes modem, and scenery local. 
Time of playing, one hour. 

139 JOY IS DANGEROUS. A Comedy in two acts, by 

James Mortimer. Three male and three female characters. Costume, 
modern French. Scenery, two interiors. Time in representation, one 
hour and forty-five minutes. 

140 NEVER RECKON YOUR CHICKENS, &c. A Farce 

in one act, by Wybert Reeve. Three male and four female characters. 
Modern costumes, and scene, an interior. Time in representation, forty 
minutes. 

•141 THE BELLS ; or, the Polish Je-nr, A romantic moral 

Drama in three acts, by MM. Erckmann and Chatrain. Nine male and three 
female characters. Costumes Alsatian, of present date. Scenery, two 
interiors and a court room. Time of playing, two hours and twenty min- 
utes. 

142 DOLLARS AND CENTS. An tfrigjinal American Com- 

edy in three acts, by L. J. HoUenius, as performed by the Murray Hill 
Dramatic Association. Nine male and four female characters. Costumes 
modern, and scenery, three interiors and one garden. Time in represen- 
tation, two aiid three quarter hours. 

143 LODGERS AND DODGERS. A Farce in one act, by 

Frederick Hay. Four male and two female characters. Costumes of 
the present time. Scene, a furnished apartment. Time in representation, 
twenty-five minutes. One character a Yorkshire farmer. 

144 THE LANCASHIRE LASS ; or. Tempted, Tried and 

True. A domestic Melodrama in four acts and a Prologue, by Henry J, 
Byron. Twelve male and three female characters. Costumes of the pres- 
ent day. Scenery, varied and difficult. Time in representation, three 
hours. 



DE WITT'S ACTING PLAYS. 



145 FIRST LOVE. A Comedy in one act, "by Eugene Scribe. 

Adapted to the American stage by L. J. HoUenius. Four male and one 
female characters. Suitable for amateurs. Modern costumes, and scene, 
a parlor. Time in playing, forty-live minutes. 

146 THERE'S NO SMOKE ^WITHOUT FIRE. A Come- 

dietta in one act, by Thomas Picton. One male and two female charac- 
ters. Costumes of the present day, and scene, an apartment. Time in 
representation, forty minutes. 

147 THE OVERLAND ROUTE. A Comedy in three acts, 

by Tom Taylor. Eleven male and five female characters. Costumes East 
Indian (European). Scenery, steamship saloon and deck, and coral reef. 
Time in representation, two hours and forty minutes. 

148 CUT OFF "WITH A SHILLING. A Comedietta in 

one act, by S. Theyre Smith. Two male and one female characters. Scene, 
a drawing room. Time in playing, twenty-five minutes. 

149 CLOUDS. An American Comedv in four acts, by Fred. 

Marsden (W. A. Sliver). Eight male and seven female characters. Cos- 
tumes of the day. Scenery, cottage, river scene and drawing rooms. Time 
in representation, three hours. 

150 A TELL-TALE HEART. A Comedietta in one act, "by 

Thomas Picton. One male and two female characters. Excellent for 
private representation. Costumes of the day. Scene, a villa room. Time 
m representation, forty minntes. 

151 A HARD CASE. A Farce in one act, by Thomas 

Picton. Two male characters. A most ludicrous piece for two performers. 
Costumes of the day. Scene, an interior. Time in playing, thirty-five 
minutes. 

152 CUPID'S EYE-GLASS. A Comedy in one act, by 

Thomas Picton. One male and one female characters. Adapted for ama- 
teur performance. Costumes of the day, and scene, a drawing room. 
Time in representation, twenty-five minutes. 

153 'TIS BETTER TO LIVE THAN TO DIE. A Farce 

in one act, by Thomas Picton. Two male and one female characters. Can 

jstumes. modem, and 
minutes. 



be played readily and effectively by amateurs. Costui 
scene, an artist's studio. Time in representation, forty ; 



154 MARIA AND MAGDALENA. A Play in four acts, by 

L. J. HoUenius, Eight male, six female characters. An uniformly good 
stock company is alone needed to properly produce this charming piece. 
Costumes modern. Scenery, fine interiors and beautiful gardens. Time 
in representation, three hours, 

155 OUR HEROES. A Military Play in five acts, eight 

allegorical tableaux, and ten grand pictures, including a grand transfor- 
mation tableau, by John B. Renauld. Twenty-four male and five 
female characters. Large parties «f retired volunteeis can appear with 
great effect in this play. Costumes modern, civil and military. Scenery, 
interiors of dwellings, encampments and battle-fields. 

156 PEACE AT ANY PRICE. A Farce in one act, by T. 

W. Robertson. One male and one female characters ; but a variety of 
voices are heard throughout the piece, the speakers being invisible. A 
capital sketch for two lively amateur comedians. Costume modern. 
Scenery— there is but one scene throughout the piece— a meanly furnished 
apartment. Time in representation, twenty minutes. 

157 QUITE AT HOME. A Comedietta in one act, by Arthur 

Sketchley, Five male and two female characters. A real lively taking 
piece. All the characters passable. Costumes modern. Scenery, a shab 
bily furnished apartment. Time in representation, forty-five minutes. 



DE WITT'S ACTING PLAYS. 



No. 

158 SCHOOL. A Comedy in four acts, by T.W. Robertson. 

Six male and t?ix female characters. Is a very superior piece, and has 
three characters unusually good for either sex. Could be played with fine 
effect at a girls' seminary. Costumes modem. Scenery, Euitlish land- 
scape and genteel interiors. Time in representation, two hours and forty 
minutes. 

159 IN THE WRONG HOUSE. A Farce in one act, by 

Martin Becher. Four male and two female characters. A very justly 
popular piece. Two of the male characters are excellent for light and low 
comedian. Good parts, too, for a young and old lady. Costumes modern. 
Scenery, an ordinary room. Time in representation, twenty-five minutes. 

160 BLOW FOR BLOW^. A Drama in a Prologue and 

three acts, by Henry J. Byron. Eleven male and six female characters. 
Full of homely pathos as well as rich humor. Has several excellent parts. 
Costumes modern. Scenery, interiors of offices and dwellings. Time in 
representation, three hours. 

161 WOMAN'S VOWS AND MASONS' OATHS. In four 

acts, by A. J. H. Duganne. Ten male and four female characters. Has 
effective situations, fine characters and beautiful dialogues. Costumes 
modern, with Federal and Confederate uniforms. Scenery, interiors in 
country houses, and warlike encampments. Time in performance, two 
hours and thirty minutes. 

162 UNCLE'S WILL. A Comedietta in one act, by S. 

Theyre Smith. Two male and one female characters. A brilliant piece ; 
can be easily played in a parlor. Costumes modern, and naval uniform 
for Charles. Scenery, set interior drawing room. Time in representation, 
thirty minutes. 

163 MARCORETTI. A romantic Drama iii three acts, by 

Joliii M. Kingdom. Ten male and three female characters. A thrillingly 
effective piece, full of strong scenes. Costumes, brigands and rich Italian's 
dress. Scenery, interior of castle, mountain passe.*, and princely ball 
room. Time in representation, two hours. 

164 LITTLE RUBY ; or. Home Jewels. A domestic Drama 

in three acts, by J. J. Wallace. Six male and six female characters. 
This drama is at once affecting and effective. Little Kuby fine per- 
sonation for young prodigy. Costumes modern. Scenery, interior of 
dwelling and gardens. Time in representation, two hours. 

165 THE LIVING STATUE. A Farce in one act, by Joseph 

J. Dilley and James Allen. Three male and two female characters. Brim- 
ful of fun. Trotter a great character for a droll low comedian. Costumes 
modern, with one old Roman warrior dress. Scenery, a plain interior. 

166 BARDELL vs. PICKW^ICK. A 'Farcical sketch in 

one act, arranged from Charles Dickens. Six male and two female cha- 
racters. Uncommonly funny. Affords good chance to ' take off " local 
legal celebrities. Costumes modern. Scenery, a court room. Time in 
performance, thirty minutes. 

167 APPLE BLOSSOMS. A Comedy in three acts, by James 

Albery. Seven male and three female characters. A pleasing piece, 
with rich part for an eccentric comedian. Costumes modern English. 
Scenery, exterior and interior of inn. Time in representation, two hours 
and twenty minutes. 

168 TWEEDIE'S RIGHTS. A Comedy in two acts, by 

James Albery. Four male and two female characters. Has several ex- 
cellent characters. John Tweedie, powerful personation ; Tim Whiffler 
very funny. Costumes modern. Scenery, a stone mason's yard and 
modest interior. Time in representation, one hour and twenty -five 
minutes. 



DE WITT'S ACTING PLAYS. 



169 MY tTNCLE'S SUIT. A Farce in one act, by Martin 

Becher. Four male and one female characters. Has a jolly good low 
comedy part, a fine light comedy one, and a brisk, pert lady's maid. 
Costumes modern. Scenery, a well furnished sitting room. Time in rep- 
resentation, thirty minutes. 

L70 ONLY SOMEBODY; or, Dreadfully Alarming. A 

Farce in one act, by Conway Edwardes and Edward Cullerne. Four 
male and two female characters. Immensely funny. Full of queer 
incidents. Every way fitted foi- amateurs. Costumes modern. Scenery, 
a garden and back of a house. Time of playing, thirty minutes. 

Tfl NOTHING LIKE PASTE. A Farce in one act, by Cbas. 

Marsham Rae. Three male and one female characters. Every character 
superexcellent. Billy Doo a regular Burtoiiian part. Admirable piece 
for amateurs. Costumes modern. Scenery, exterior of a small villa, with 
gardens. Time in representation, forty minutes. 

L72 OURS. A Comedy in three acts, by T. W. Robertson. 

Six male and three female characters. One of the best and most admired 
plays in our language— while a fair, stock company can i)lay it acceptably. 
It has several characters fit for stars. * Costumes modern, with British 
military uniforms. Scenery, gardens, park, drawing room, and rude hut 
in the Crimea. Time of representation, two hours and thirty minutes. 

L73 OFF THE STAGE. An entirely original Comedietta 

in one act, by Sydney Eosenfeld. Three male and three female characters, 
all equally excellent. One of the sprightliest. wittiest and most amusing 
little playg ever written, causing almost an hour's constant merriment. 
Costumes modern. Scene ii handsome interior. 

L74 HOME. A Comedy in three acts, by T. W. Robertson. 

Four male, three female characters. A charming piece. Needs but a 
small company. Every character very good. Costumes modern. Only one 
scene throughout the play. Time of representation, two hours. 

L75 CAST UPON THE WORLD. An entirely Original 

Drama in five acts, by Charles E. Newton. Ten male, five female charac- 
ters. A remarkably effective piece. Costumes modern. Scenery some- 
what elaborate, but very fine. Time of representation, two hours and 
thirty minutes. 

L76 ON BREAD AND WATER. A Musical Farce in one 

act, being a free adaptation from the German, by Sydney Eosenfeld. A 
rollicking little piece. One male and two female characters. Containing a 
brilliant soubrette part. Costumes modern. Scene an uncarpeted school 
room. Time in representation, twenty-five minutes. 

LT7 I SHALL INVITE THE MAJOR. A Parlor Comedy 

in one act, by G. von Moser. Containing five characters, four male and 
one emale. A very pleasing little play, with good parts for all. Very 
bright and wittj^ Costumes modern. Scene, a handsome interior. Time 
in representation, forty minutes. 

L78 OUT AT SEA. An entirely Original Romantic Drama 

in a prologue and four acts, by Charles E. Newton. Sixteen male, five 
female characters. Powerfully written. Full of strong situations. Very- 
telling scenic effects. Costumes modern. Time in representation, two 
hours and ten minutes. 

119 A BREACH OF PROMISE. An extravagant Comic 

Drama in two acts, by T. W, Robertson. Five male, two female charac- 
ters. A capital, very merry piece. Good for amateurs. Time in repre- 
sentation, one hour. Scenery, two interiors. Costume, modern. 

L80 HENRY THE FIFTH. An Historical Play in iive acts. 

By William Shakspeare. Thirty -eight male, five female characters. This 
grand play has a rare blending of the loftiest tragedy, with the richest and 
broadest humor. This edition is the most complete in every respect ever 
])ublished. Costumes rich and expensive. Scenery, etc., very elaborate. 
Time of representation, three hours. 




" Let those laugh now who never laughed before ; 
And those who always laughed now laugh the more." 

Nothing so thorough and complete in the way of Ethiopian 
and Comic Dramas has ever been printed as those that appear 
in the following list. Not only are the plots excellent^ the char- 
acters drolly the incidents funny ^ the language humorous ^ hut 
all the situations, by-play, positions, pantomimic business, 
scenery and tricks are so plainly set down and clearly explained, 
that the merest novice could put any of them on the Stage. In- 
cluded in this Catalogue are all the most laughable and effective 
pieces of their class ever produced. 

*;^* In ordering, please copy the figures at the commencement of each 
Play, which indicate the number of the piece in " Db Witt's Ethiopian 
aStd Comic Drama." 



Any of the following Plays sent, postage free, on receipt of 
price — fifteen cents. 

Address as on first page of this Catalogue. 



JE WITT'S ETHIOPUir ^ COIHC DRAMA. 



1 THE LAST OF THE MOHICANS. An Ethiopian Sketch, 

by J. C. Stewart. Three male and one female characters. Costumes of 
the day, except Indian shirts, Ac. Two scenes, chamber amd wood. Time 
in representation, eighteen minutes. 

2 TRICKS. An Ethiopian Sketch, by J. C. Stewart. Five 

male and two female characters. Costumes of the period. Two scenes, 
two interiors. Time in representation, eighteen minutes. 

3 HEMMED IN. An Ethiopian Sketch, hy J. C. Stewart. 

Three male and one female characters. Costumes modern, and scene, a 
studio. Tin:ke in representation, twenty minutes. 

4 EH ? WHAT IS IT ? An Ethiopian Sketch, hy J. C. Stewart. 

Four male and one female characters. Costumes of the day, and scene, a 
chamber. Time in representation, twenty minutes. 

5 TWO BLACK ROSES. An Ethiopian Sketch, hy J. C. 

Stewart. Four male and one female characters. Costumes modern, and 
scene, an apartment. Time in representation, twenty minutes. , 



DE WITT'S ETHIOPIAN AND COMIC DRAMA. 

No. 

6 THE BLACK CHAP FROM HVHITECHAPEL. An 

eccentric Ne^ro Piece, adapted from Burnand and Williams' "B. B " by 
Henry L. Williams, Jr. Four male characters. Costumes modern. Scene, 
an interior. Time in representation, tjhirty minutes. 

7 THE STUPID SERVANT. An Ethiopian Sketch in one 

scene, by Charles White. Two male characters. Characters very droll ; 
fit for star ''darky" players. Costumes modern and fantastic dresses. 
Scenery, an ordinary room. Time in representation, twenty minutes. 

8 THE MUTTON TRIAL. An Ethiopian Sketch in two 

scenes, by James Maffit. Four male characters. Capital burlesque of 
courts of "justice;" all the parts good. Costumes modern and Quaker. 
Scenery, a wood view and a court room. Time in representation, twenty 
minutes. 

9 THE POLICY PLAYERS. An Ethiopian Sketch in one 

scene, by Charles White. Seven male characters. A very clever satire upon 
a sad vice. Costumes modern, and coarse negro ragged clothes. Scenery, 
an ordinary kitchen. Time in representation, twenty minutes. ^ 

10 THE BLACK CHEMIST. An Ethiopian Sketch in one 

scene, by Charles Wh te. Three male characters. All the characters are 
A 1, funny in the extreme. Costumes modern or Yankee— extravagant. 
Scenery, an apothecary's laboratory. Time in representation, seventeen 
minutes. 

11 BLACK-EY'D "WILLIAM. An Ethiopian Sketch in two 

scenes, by Charles White. Four male, one female characters. All the 
parts remarkably good. Costumes as extravagant as possible. Scenery, a 
police court room. Time in representation, twenty minutes. 

12 DAGUERREOTYPES. An Ethiopian Sketch in one 

scene, by Charles White. Three male characters. Full of broad humor ; 
all characters excellent. Costumes modern genteel, negro and Yankee 
garbs. Scenery, ordinary room with camera. Time in representation, 
fifteen minutes. 

13 THE STREETS OF NEW YORK; or, New York hy 

Gaslight. An Ethiopian Sketch in one scene, by Charles White. Six male 
characters. Three of the parts very droll ; others good. Costumes some 
modern, some Yankee and some loaferish. Scenery, street view. Time 
in representation, eighteen minutes. 

14 THE RECRUITING OFFICE. An Ethiopian Sketch in 

one act, by Charles White. Five male characters A piece full of incidents 
to raise mirth. Three of the parts capital. Costumes extravagant, white 
and darkey, and a comical uniform. Scenery, plain chamber and a street. 
Time in representation, fifteen minutes. 

15 SAM'S COURTSHIP. An Ethiopian Farce in one act, 

by Charles White. Two male and one female characters. All the charac- 
ters particularly jolly. Two of the parts can be played in either white or 
black, and one in Dutch. Costumes Yankee and modern. Scenery, plain 
" chamber. Time in representation, twenty minutes. 

16 STORMING THE FORT. A burlesque Ethiopian Sketch 

in one scene, by Charles White. Five male characters. Kichiy ludicrous ; 
all the characters funny. Costumes fantastical, and extravagant military 
uniforms. Scenery, ludicrous " take off " of fortifications. Time in repre- 
sentation, fifteen minutes. 

17 THE GHOST. An Ethiopian Sketch in one act, hy 

Charles White. Two male characters. A right smart piece, full of laugh. 
Costumes ordinary " darkey " clothes. Scenery common looking kitchen. 
Time in representation, fifteen minutes. 

18 THE LIVE INDIAN ; or, Jim Crow. A comical Ethi- 

opian Sketch in four scenes, by Dan Bryant. Four male, one female 
characters. As full of fun as a hedgehog is full of bristles. Costumes 
modern and darkey. Scenery, chamber and street. Time in representation, 
twenty minutes. 



DE WITT'S ETHIOPIAN AND COMIC DRAMA. 

No. 

19 MALICIOUS TRESPASS; or, Points of Law. An Ethi- 

opian Sketch in one scene, by Charles White. Three male characters. 
Extravagantly comical ; all the parts very good. Costumes extravagant 
modern "garbs, ycenery, wood or landscape. Time of playing, twenty 
minutes. 

20 GOING FOR THE CUP ; or, Old Mrs. "WilUams' Dance. 

An Ethiopian Interlude, by Charles White. Four male character-s. One 
capital part for a bright juvenile ; the others very droll. Costumes modern 
and darkey. Sceuery, a landscape or wood. Time in representation, 
twenty minutes. 

21 SCAMPINI. An anti-traf;ical, comical, xna^icAl and 

laughable Pantomime, full of tricks and transformations, in two scenes, 
by Edward Warden. Six male, three female characters. Costumes extra- 
vagantly eccentric. Scenery, plain rustic chamber. Ti-me in representa- 
tion, thirty minutes. 

22 OBEYING ORDERS. An Ethiopian Military Sketch in 

one scene, by John Arnold. Two male, one female characters. Mary 
Jane, a capital wench part. The piece very jocose. Costuijies ludicrous 
military and old style dresses. Scenery either plain or fancy chamber. 
Time of playing, fifteen minutes. 

23 HARD TIMES. A Ne^ro Extravaganza in one scene, 

by Daniel D. Emmett. Five male, one female characters. Needs several 
good players— then there is " music in the air." Costumes burlesque, 
fa.shionable and low negro dresses. Scenery, a kitchen. Time in represen- 
tation, twenty minutes. 

24 BRUISED AND CURED. A Negro Burlesqne Sketch in 

one scene, by A. J. Leavitt. Two male characters. A rich satire upon 
the muscular furore of the day. Costumes tights and guernsey shirts 
and negro dress. Scenery, plain chamber. Time iu representation, twenty 
minutes. _^ 

25 THE EELLOTV THAT LOOKS LIKE ME. A laughable 

Interlude in one scene, by Oliver Durivarge. Two male characters— one 
female. Boiling over with fun, especially if one can make up like Lester 
Wallack. Costumes genteel modern. Scenery, handsome chamber. Time 
in representation, twenty-five minutes. 

26 RIVAL TENANTS. A Negro Sketch, by George L. Stout. 

Four male characters. Humorously satirical ; the parts all very funny. 
Costumes negro and modern. Sceuery, an old kitchen. Time of playing, 
twenty minutes. 

27 ONE HUNDREDTH NIGHT OF HAMLET. A Negro 

Sketch, by Charlei* White. Seven male, one female characters. Affords 
excellent chance for imitations of popular "stars." Costumes modern, 
some very shabby. Scenery, plain chamber. Time in representation, 
twenty minutes. 

28 UNCLE EPH'S DREAM. An Original Negro Sketch in 

two scenes and two tableaux, arranged by Charles White. Three male, 
one female characters. A very pathetic little piece, with a sprinkling of 
humor. Costumes, a modern southern dress and negro toggery. Scenery, 
wood, mansion and negro hut. Time in representation, twenty' minutes. 

29 WHO DIED FIRST ? A Nesro Sketch in one Scene, by 

A. J. Leavitt. Three male, one female characters. Jasper and Hannah 
are both very comical personages. Costumes, ordinary street dress and 
common darkey clothes. Scenery, a kitchen. Time in representation, 
twenty minutes. 

30 ONE NIGHT IN A BAR ROOM. A Burlesqne Sketch, 

arranged by Charles. White. Seven male characters. Has a funny Dutchman 
and two good darkey characters. Costume, one Dutch and several mod- 
ern. Scenery, an ordinary interior. Time in representation, twenty min- 
utes. 



DE WITT'S ETHIOPIAN AND COMIC DRAMA. 



31 GLYCERINE OIL. An Ethiopian Sketch, hy John Ar- 

nold. Three male characters, all good. Costumes, Quaker and eccentric 
modern. Scenery, a street and a kitchen. Time in representation, fifteen 
minutes. 

32 "WAKE UP, -WILLIAM HENRY. A Neero Sketch, ar- 

ranged by Charles White. Three male characters, which have been favor- 
ites of our best performers. Costumes modern— some eccentric. Scenery 
I plain chamber. Time in representation, ten minutes. 

33 JEALOUS HUSBAND. A Negro Sketch, arranged by 

Charles White. Two male, one female characters. Full of farcical dia- 
logue. Costumes, ordinary modern dress. Scenery, a fancy rustic cham- 
ber. Time in representation, twenty minutes. 

34 THREE STRINGS TO ONE BOW^. An Ethiopian Sketch 

Ih one scene, arranged by Charles WLite. Four male, one female. charac- 
ters. Full of rough, practical jokes. Costumes, modem. Scenery, a land- 
I scape. Time m representation, fifteen minutes. 

35 COAL HEAVERS' REVENGE. A Negro Sketch in one 

Bcene, by George L. Stout. Sis male characters. The two coal heavers 
have '' roaring " parts. Costumes, modern, Irish and negi-o comic make 
up. Scenery, landscape. Time in representation, twenty minutes. 

I 36 LAUGHING GAS. A Negro Burlesque Sketch in one 

' scene, arranged by Charles White. Six male, one female characters. Is a 

favorite with our best companies. Costumes, one modern genteel, the rest 
ordinary negro. Scenery, plain chamber. Time of playing, fifteen min- 
utes. 

jl 37 A LUCKY JOB. A Negro Farce in txtro scenes, arranged 

I by Charles White. Three male, two female characters. A rattling, lively 

■, piece. Costumes, modern and eccentric. Scenery, street and fancy cham- 

ber. Time in representation, thirty minutes. 

38 SIAMESE T'WINS. A Negro Burlesque Sketch, in two 

scenes, arranged by Charles White. Five male characters. One of the 
richest in fun of any going. Costumes, Irish, darkey and one wizard's 
dress. Scenery, a street and a chamber. Time in representation, twenty- 
' five minutes. 

'39 "WANTED A NURSE. A laughable Sketch in one 

scene, wrranged by Charles White. Four male characters. All the charac- 
ters first rate. Costume, modern, extravagant, one Dutch dress. Scenery, 
a plain kitchen. Time in representation, twenty minutes. 

40 A BIG MISTAKE. A Negro Sketch^ in one scene, hy 

A. J. Leavitt. Four male characters. Full of most absurdly fanny inci- 
dents. Costumes, modem ; one policeman's uniform. Scenery, a plain 
chamber. Time in representation, eighteen minutes. 

41. CREMATION. An Ethiopian Sketch in two scenes, hy 

A. J. Leavitt. Eight male, one female characters. Full of broad, palpable 
hits at the last sensation. Costumes modern, some eccentric. Scenery, a 
street and a plain chamber. Time in representation, twenty-five minutes. 

42. BAD "WHISKEY. A comic Irish Sketch in one scene, 

by Sam Rickey and Master Barnej. Two male, one female characters. 
One of the very best of its class. Extravagant low Irish dress and a police- 
man's uniform. 

43 BABY ELEPHANT. A Negro Sket;ch in two scenes. 

By J. C. Stewart. Seven male, one female characters. Uproariously comic 
in idea and execution. Costumes, modern. Scenery, one street, one 
chamber. Time in representation, twenty-five minutes. 

44 THE MUSICAL SERVANT. An Ethiopian Sketch in 

one scene, by Phil. H. Mowrey. Three male characters. Very original 
and very droll. Costumes, modern and low darkey. Scenery, a plain 
chamber. Time iu representation, fifteen minutes. 



DE WITT'S ACTING PLAYS. 



No. 

45 REMITTANCE FROM HOME. An Ethiopian Sketch in 

one scene, by A. J. Leavilt. Six male characters. A very lively piece, 
full of bustle, and jii^'ing half a dozen people a good chance. Time in repre- 
sentation, twenty minutes. 

46 A SLIPPERY DAY. An Ethiopian Sketch in one scene, 

by Robert Hart. Six male, one female characters. By a very simple mechan- 
ical contrivance, plainly planned and described in this book, a few persons 
can keep aa audience roaring. Time in representation, sixteen minutes. 

47 TAKE IT, DON'T TAKE IT. A Negro Sketch in one 

scene, by John Wild. Two male characters. Affords a capital chance for 
two good persons to "do" the heaviest kind of deep, deep tragedy. 
Time of representation, twenty-three minutes. 

48 HIGH JACK, THE HEELER. An Ethiopian Sketch in 

one scene, by A. J. Leavitt. Six male characters. Happily hits off the short- 
haired bragging "lighters" that can't lick a piece of big taffy. Time of 
playing, twenty minutes. 

49 ANIGHT IN A STRANGE HOTEL. A laughahle Negro 

Sketch in one scene, arranged by Charles White. Two male characters. Al- 
though this piece has only two personators, it is full of fun. Tiine in rep- 
resentation, eighteen minutes. 

50 THE DRAFT. A Negro Sketch in one act and two scenes, 

by Charles White. Six male characters. A good deal of humor of the Mulli- 
gan Guard ; nd Awkward Squad style, dramatized. Time in representation, 
eighteen minutes. 

51 FISHERMAN'S LUCK. An Ethiopian Sketch in one 

scene, by Charles Wliite. Two male characters. Decidedly the best " fish 
story " ever told. It needs two " star " darkeys to do it. Time in represen- 
tation, fifteen minutes. 

52 EXCISE TRIALS. A Burlesqne Negro Sketch in one 

scene, arranged by Charles White. Ten male, one female characters. Full of 
strong local satire ; can be easily adapted to any locality. Time of repre- 
sentation, twenty minutes. 

53 DAMON AND PYTHIAS. A Negro Burlesque, by Chas. 

White. Five nij^le, one female characters, in two scenes. A stunning bur- 
lesque of the highfalutin melodrama ; capital for one or two good imita- 
tors. Time of representation, fifteen minutes. 

54 THEM PAPERS. An Ethiopian Sketch in one scene, by 

A. J. Leavitt. Three male characters. Full of comiciil mystifications and 
absurdly funny situations. Time of representation, fifteen minutes. 

55 RIGGING A PURCHASE. A Negro Sketch in one scene, 

by A. J. Leavitt. Three male characters. Full of broad comical effects. 
Time in representation, fifteen minutes. 

56 THE STAGE STRUCK COUPLE. A laughable Inter 

lude in one scene, by Charles White. Two male, one female characters. 
Gives the comical phase of juvenile dramatic furor; very droll, contrasted 
with the matter-of-fact darkey. Time in representation, fifteen minutes. 

57 POMPEY'S PATIENTS. A laughable Interlude in two 

scenes, arranged by Charles White. Six male characters. Very funny 
practical tricks of a fast youth to gain the governor's consent to his wed- 
ding his true love. Half a dozen good chances for good actors. Time in 
representation, twenty minutes. 



DE WITT'S ACTING PLAYS. 



No. 

58 GHOST IN A PAWN SHOP. An Ethiopian Sketch in 

one scene, by Mr. Muckey. Four male characters. As comical as its title ; 
running over with practical jokes. Time of representation, twenty min- 
utes. 

59 THE SAUSAGE MAKERS. A Negro Burlesque Sketch 

in two Bcenes, arranged by Charles White. Five male, one female charac- 
ters. An old story worked up with a deal of laughable effect. The ponder- 
ous fiau!?age machine and other properties need not cost more, than a 
couple of dollars. Time of representation, twenty minutes. 

60 THE LOST W^ILL. A Negro Sketch, hy A. J. Leavitt. 

Four male characters. Very droll from the word "go." Time of repre- 
sentation, eighteen minutes. 

61 THE HAPPY COUPLE. A Short Humorous scene, ar- 

ranged by Charles White. Two male, one female characters. A spirited 
burlesque of foolish jealousy. Sam is a very_ frolicsome, and very funny 
young darkey. Time of playing, seventeen minutes. 

62 VINEGAR BITTERS. A Negro Sketch in one scene, ar- 

ranged by Charles White. Six male, one female characters. A broad bur- 
lesque of the popular patent medicine business ; plenty of humorous inci- 
dents. Time of representation, lifteen minuteB. 

63 THE DARKEY'S STRATAGEM. A Negro Sketch in one 

act, arranged by Charles White. Three male, one female characters. Quaint 
courtship scenes of a pair of young darkies, ludicrously exaggerated by the 
tricks of the boy Cupid. Time of representation, twenty minutes. 

64 THE DUTCHMAN'S GHOST. In one scene, by Larry 

Tooley. Four male, one female characters. Jacob Schrochorn, the jolly 
shoemaker and his f ran. are rare ones for raising a hearty laugh. Time of 
representation, fifteen minutes. 

65 PORTER'S TROUBLES. An Amusing Sketch in one 

scene, by Ed. Harrigan. Six male, one female characters. A laughable ex- 
position of the queer freaks of a couple of eccentric lodgers that pester a 
poor "porter." Time in representation, eighteen minutes. 

^6 PORT WINE vs. JEALOUSY. A Highly Amusing 

I Sketch, by William Carter. Two maie, one female characters. Twenty 

]' minutes jammed full of the funniest kind of fun. 

81 EDITOR'S TROUBLES. A Farce in one scene, hy Ed- 
ward Harrigan . Six male characters. A broad farcical description of the 
running of a country journal "under difficulties." Time of representa- 
tion, twenty-three minutes. 

68 HIPPOTHEATRON OR BURLESQUE CIRCUS. An 

Extravagant, funny Sketch, by Charles White. Nine male characters. A 
rich burlesque of sports in the ring and stone smashing prodigies. Time of 
playing, varies with "acts" introduced. 

S9 SQUIRE FOR A ^DAY. A Negro Sketch, hy A. J. 

Leavitt. Five male, one female characters. The " humor of it " is in the 
mock judicial antics of a darkey judge for a day. Time of representation, 
^ twenty minutes. 

kO GUIDE TO THE STAGE. An Ethiopian Sketch, hyChas. 

White. Three male characters. Contains some thumping theatrical hits of 
the " Lay on Macduff," style. Time of playing, twelve minutes. 



MimtJSCBIPT PLAVS. 



Below will he found a List of nearly all the great Dramatic 
successes of the present and past seasons. Every one of these 
Plays, it will be noticed, are the productions of the most eminent 
Dramatists of the age. Nothing is omitted that can in any 
manner lighten the duties of the Stage Manager, the Scene 
Painter or the Property Man. 



ON THE JURY. A Drama, in four Acts. By Watts PMl- 

lips. This piece has seven male and four female characters. 

ELFIE; or, THE CHERRY TREE INN. A Romantic 

Drama, in three Acts. By Dion Boucicault. This piece has six male and 
four female characters. 

THE TWO THORNS. A Comedy, in four Acts. By James 

Albery. This piece has nine male and three female characters. 

A W^RONG MAN IN THE RIGHT PLACE. A Farce, in 

one Act. By John Oxenford. This piece has one male and three female 
characters. 

JEZEBEI4 ; or, THE DEAD RECKONING. By Dion Bou- 

cicault. This piece has six male and fiv^ female characters. 

THE RAPAREE ; or, THE TREATY OF LIMERICK. A 

Drama, in three Actg. By Dion Boucicault. This piece has nine male and 
two female characters. 

'TWIXT AXE AND CROWN; or, THE LADY ELIZA- 

beth. An Historical Play, in live Acts. By Tom Tayloi. This piece has 
twenty-five male and twelve female characters. 

THE TW^O ROSES. A Comedy, in three Acts. By James 

Albery. This piece has five male and four female characters. 

M. P. (Meml>er of Parliament.) A Comedy, in four Acts, 

By T. W. Kobcrtson. This piece has seven male and five female characters. 

MARY WARNER. A Domestic Drama, in four Acts. By 

Tom Taylor. This piece has eleven male ;md five female characters. 

PHILOMEL. A Romantic Drama, in tliree Acts. By H. T. 

Craven. This piece has six male and four female characters. 

UNCLE DICK'S DARLING. A Domestic Drama, in three 

Acts. By Henry J. Byron. This piece has six male and five female cha- 
racters. 

LITTLE EM'LY. (David CopT>erfield.) A Drama, in four 

Acts. By Andrew^ Halliday. "Little Em'ly" has eight male and eight 
female characters. 



DE WITT'S MANUSCRIPT PLATS. 



FORMOSA. A Drama, in four Acts. By Dion Boucicault. 

This piece has eighteen male and eight female characters. 

HOME. A Comedy, in three Acts. By T. W. Robertson. 

"Home " has four male and three female characters. 

AN ENGLISH GENTLEMAN ; or, THE SQUIRE'S LAST 

Shilling. A Drama, in four Acts. By Henry J. Byron. This piece con- 
tains nine male, four female characterrs. 

FOULi PLAY. A Drama, in four Acts. By Dion Boucicault. 

This piece has fourteen male and two female characters. 

AFTER DARK, i?^ Drama, in four Acts. By Dion Bouci- 
cault. This piece has fourteen male and two female characters. 

ARRAH-NA-POGUE. A Drama, in three Acts. By Dion 

Boucicault. This piece has fourteen male and two female characters. 

BREACH OF PROMISE. A Comic Drama, in two Acts. By 

T. W. Eobertson. The piece has five male and two female characters. 

BliACK AND "WHITE. A Drama, in three Acts. By "Wilkie 

Collins and Charles Fechter. This piece has six male and two female cha- 
racters. 

PARTNERS FOR LIFE. A Comedy, in three Acts. By 

Henry J. Byron. This piece has seven male and four female characters. 

KERRY ; or. Night and Morning. A Comedy, in one Act. 

By Dion Boucicault. This piece contains four male and two female char- 
acters. 

HINKO ; or, THE HEADSMAN'S DAUGHTER. A R'omau- 

tic Play, in a Pro ogiie and five Acts. By W. G. Wills. The Prolo;,'ue con- 
tains four male and three female characters. The I'lay contains ten male 
and seven female characters. 

NOT IF I KNOW IT. A Farce, in one Act. By John Mad- 

dison Morton. This piece contains four male and four female characters. 

DAISY FARM. A Drama, in four Acts. By Henry J. Byron 

This piece contains ten male and four female characters. 

EILEEN OGE ; or. DARK'S THE HOUR BEFORE THE 

Dawn. A Drama, in four Acts. By Edmund Falconer, This piece con- 
tains fifteen male and four female characters. 

TWEEDIE'S RIGHTS. A Comedy-Drama, in two Acts. By 

James Albery. This piece has four male, two female characters. 

NOTRE DAME; or, THE GIPSY GIRL OF PARIS. A 

Romantic Drama, in three Acts. By Andrew Halliday. l^is play has 
seven male, four female characters. 

JOAN OF ARC. A Tragedy, in Five Acts. By Tom Taylor. 

This piece has twenty-one male, four female characters. 



Manuscript copies of these very effective and very suc- 
cessful plays are nozu ready, and will be furnished to Man- 
agers on very reasonable terms. 



DE WITT'S ELOCtTTIOHART SERIES. 

PRICE 15 CENTS EACH. 



Young people xclio were desirous of acquiring a practical knowledge of the beauti- 
ful^ as well as highly useful art of Reading and Speaking correctly and elegantly, 
have found great difficulty in jnvciiring books that ivould teach them rather in the 
manner of a genial friend than an imperious master. Such books we here iwesent 
to the public in '■'■ T)e Willi's Elocutionary S&ries.'''' fNot only are the selections made 
very carefully from the abundant harvest of dramatic literature, but the accompany- 
ing INSTRUCTIONS are so pjlain, direct and forcible, that the least intelligent can 
easily undei'stand all the rules andpiecepts of the glorious a) t that has immortalized 
I?oscius and Kean, Chatha?7i and Henry. 



No. 1. THE ACADEMIC SPEAKER. Containing an un- 
usual variety of striking Dramatic Dialogues, and other most effective 
scenes. Selected with great care and judgment from the noblest and 
wittiest Dramas, Comedies and Farces most popular upon the best stages. 
Interspersed with such able, plain and practical criticisms and remarks 
upon Elocution and stage efiects, as to render this work the most valuable 
hand-book to the young orator that has ever been produced. 

COXTEA'TS.— General Introductory Remarks ; On llie quality of Selections ; On True Eloquence ; 
0« Awkward Delivery ; On Necessity of Attentive Study; On Appropriate Gesture; On the 
Appearance ofLadies upon the Stage ; The Stage and the Curtain ; Remarks upon the subject 
of Scenery ; How to easily Construct a Stage ; Stage Arrangements and Properties ; Remarks 
upon improvising Wardrobes, etc., etc. There are Twelve pieces in tills book that raquire two 
Male Characters ; Six pieces that require six Male Characters ; Two pieces that require Jour 
Male Characters. 
V 

No. 2. THE DRAMATIC SPEAKER. Composed of many 

very carefully chosen Monologues, Dialogues and other effective Scenes, 
from the most famous Tragedies, Comedies and Farces. Interspersed with 
numerous Directions and Instructions for their proper Delivery and Per- 
formance. 

COI*TEI\iXS.— There are three pieces In this book that require one Male Character; One that requires 
three Male CharacteiS ; Ten that require twn Male Characters , Nine that require one Male and 
one Female Cliaracters ; Four that require three Male Characters ; One that reqtiires two Male and 
one Female Characters ; One that requires two Female Characters ; One that requires one Male and 
two Female Characters. 

No. 3. THE .vJHISTRIONIC SPEAKER. Being a careful 

compilation of the mo'^t amusing Dramatic Scenes, liglit, gay, pointed, 
witty and sparkling. Selected from the most elegantly written and most 
theatrically effective Comedies and Farces upon the English and American 
Stages. Properly arranged and adapted for Amateur and Parlor Kepresen- 
tation. 

COaJTEKITS.— rftrf?? of the pieces in this book require ^ico Female Characters; Oue piece requires 
seven Female Characters ; Nineteen pieces that require one Male and one Female Characters ; One 
piece that requires one Male aud tioo Female Characters ; One piece that requires two Male and 
one Female Characters. 

No. 4. THE THESPIAN SPEAKER. Being the best Scenes 

from the best Plays. Every extract is preceded by valuable and very plain 
observations, teaching the young Forensic Student how to Speak ana Act 
in the most highly approved manner. 

COI\TEi\TS.— i'^iwe of tlie pieces in this book require mie Male and one Female Characters ; Three of 
the pieces req^nva three Male Characters ; Three of the pieces lequlre two Male and one Female 
Characters ; Seren of the pieces require two Male Characters ; One of the pieces require one Male 
and one Female Characters : Two of the pieces require two Male and Uvo Female Characters ; One 
ot the pieces require four Male and four Female Characters ; Three of the pieces require three 
Male aud one Female Cliaracters. 

*^* Single copies sent, on receipt of price, postage free. 
^W Address as per first page of tliis Catalogue, 



fl03. 

104. 
106. 

no. 

114. 
115. 
116. 

ll'T. 
isa. 

19S. 
134. 
125. 
IS?. 
13S. 
139. 
130. 

131. 

133. 
133. 
134. 
135. 

136. 



. l^ast Fare-sreli TiirK-r. 

. My Heart is Xbiue Ajione. .Giover. 

. Come Back to .^ -i.. Clf.rlbel. 

. IMorn OD the Measlo-^v.. . Wrightoii. 

. Sad Brown Leaves Chantrey. 

, Pond Memory Glover. 

. I Heard a Spirit Sin^ Taylor. 

. Autumn Twilight Glover. 

. Rooked in the Cradle of the 

Deep Tucker. 

. Origin of the Harp Moore. 

. Strangers "Vet Clarlbel. 

, Sweet Land of Tyrol Theresa. 

, My Pretty Bird, Sing On. 

Llndbland. 

. Spring and Autumn Tucker. 

> Upon the Sna«vy Mountain Tops. 
Holler. 

, A-ve Maria 'iiionod. 

Belie-re Me if all Endearing 

Charms Sloore. 

Children's Voices Clarlbel. 

L,ong, £.ong "*Veary Day. . .Tucker. 
>Vhy was I Looking Out? 

Blnmenthal, 
Angels Ever Bright and Fair. 

Tucker. 

, Annie Lasirie Tucker. 

, My Pretty Jane Bishop. 

. Distant Land Benslett. 

. Dream of Love Kodwell. 

, I Lo^'e and I am Beloved. .Richard. 

, Xenia Lutz. 

On the Mountains Benedict. 

Oh. VValy, "Waly, dp the Bank. 

BlumenthHl. 

The Birds were Telling One 

Another Smart. 

Come Sit Thee Down Sinclair. 

The Standard Bearer. .Lindpainter. 

Shells of Ocean Cherry. 

Isle of Beauty, Fare Thee "Well. 
Bajlej. 
Bloom Again, Sweet Prison 
Flo^ver Young. 



13T. 
138. 



«30. 
140. 



144. 

145. 
14C. 

14'J. 

148. 

153. 
154. 



1C4». 
163. 

164. 
165. 

166. 
16?. 
168. 
169. 
ITO. 
ITJ. 
175. 
1T8. 

180. 
183. 
186. 
196. 
19'?. 

198. 
300. 



.r. 

Ever of Thee Hall. 

As I'd mothing Else to Ho. 

Hatton 

Grieve I\ot for Me Wrighton. 

I Cannot Sing the Old Songs. 

Clarlbel. 

"Why Do Summer R«ses Fade? 

Barker. 

I Cannot Mind nay "Wheel, 

Mother Linley. 

Araby 's D aughter. Kiallraark. 

Young Jenny Allen. 

O Fair tiovci O Fond Dove ! 

Gatty. 

Oh, Keep Me in Your Memory. 

Glover. 

XJpon the Danube River. ..Tucker. 

Just Touch the Harp Cently, My 

Pretty Louise Blamphia 

"When the Corn is Waving, 

Annie Blaniphln 

Love's Secret Tucker 

"When my Ship Comes Home. 

Lee. 

Bird on the Tree Nish. 

"Veoman's ^Vedding Song, 

Poniatowskl. 

Linden "Waltz Aide. 

Michael Bray PI"'?- 

Lover's Pen Poniatowskl. 

Eily's Reason Molloy. 

Wilh the Stream Tours. 

Out in the Cold Basnall. 

The "Wishing Cap "Wrighton 

The Island of Green. 

Arranged by Tucker. 

Meeting in Heaven "Wrighton. 

Jenny of the Mill Leduc. 

Esmeralda Levey, 

Heavenl<y Golden Shore. Rosenthal. 
Don't "Vou Bemember, Love ? 

Lawrence. 

Hark! the Drum NIsh. 

. Anita (the Chieftain's "«VifeU 

Bichards. 



OPERATIC SONGS. 



lO. Little Blue Butterfly Herve. 

3T. Loving Daughter's Heart. .. .Balfe. 

39. Paradise of Love ..Balfe. 

69. O Rare Malvoisie ! Offei;bach. 

"St. Light of Other Days Balfe- 

"73. Rhotomago's Partner Fair. 

Offenbach. 

'S"?, Ah I "What a Fate! Offenbach. 

SO. Then Ifou'll Remember Me.. Balfe. 

81. Turtle Doves Offenbach. 

83. >Tis Sad to Leave Our Father, 
land. Balfe. 



84. On Yonder Rock Reclining.. .Auber. 

85. Vl'^alk Up l\ow. This is IVo Hum- 

bug. 
89. Song of tlie Tight Rope Dancer. 

Offenbach. 

93. These Aching Teeth Offt-nbach. 

9'7. Painted so Fine — Eyes Divine. 

Offenbach. 

99, Anvil Chorus Verdi. 

lOl. Fool, You may Say it if You 
Please Offenbach. 



Componer. 

> ••• Flawers so Fair and Sweet. 

Offenbach. 

lOS. niignon Thomas. 

«09. Pleased vrith Myself Offeubacli. 

««1. Heart Bowed nown Balfe. 

418. Young Agnes. Beauteous 

Flower Auber. 

113. I Dreamt I Dwrelt iu Marbl*^ 

Halls. Balft;. 

118. Her Centle Voice Expressed, etc. 

Balfe. 



No. csm> - '■. 

119, Xhe Tempest of the Heart. .Vera. 

ISO. "Whf Linger. Mourner Memory? 

Mellow. 

121. List to the Gay Castanet Balfe. 

136. Xhe Ball Thomas. 

14S. My Ow^n. My Guiding Star. 

Macrairen. 

143, Ah! So Pure Plotow. 

155. IVhere shall I XaUe my Bride ? 
Berne. 



COMIC AND SERIO COMIC SONGS. 



1. Pretty Polly, 



iff you Lo-ve Me. 

Coote, 

S. Fisherman's Daughter Bagnall. 

4. I'll Tell Your Vt^iffe Egerton. 

■7. Up in a Balloon Hunt. 

9. Captain Jinks Maclagan. 

11. Champagne Charlie Lee 

IS. Thady O'Flynn MoUoy. 

13. Tassels on the Boots Tucker. 

15. Tommy Dodd ,. Clarke. 

1'^. That's the Style ffor Me Young, 

18. Pretty Little Flora Leyborne. 

19. Bother the Men Walker 

as. I wish 1 was a Fish Hunt. 

«4I. Put it Down to Me Gatty 

»8. Oh, Wouldn't You Like to Knowr? 

JVIuagrave. 

3©. YVhere is my IVancy? Hunt. 

33. Imnaenseikoflr Lloyd. 

38. Good-hye, John; or. Chickabiddy. 

40- Beau of Saratoga Vance. 

4S. IVot for .loseph Lloyd. 

44. California Gold Hunt. 

48. Susan, Susan, Pity my Confusion 
Burnam. 

SO. Walking ir "-"-le Park Lee. 

5S. Bell Goes a-Biuging for Sa-i>rah. 
Hunt. 
53. Call Her Back and Kiss Her. 

Minasi. 

50. Flying Trapeze Lee. 

58. It's IWice to be a Father Bunt. 



151. 
153 



nsrs. 

158. 
16S. 
I'^l. 
I'TS. 
If3. 

iryc. 

181. 
183. 
184. 
185. 
^«9. 

19«>. 
19 

19a. 

193. 



. She Danced Like a Fairy.. Dudley. 
. I rVever Go East off Madison 
Square. 

, Lancashire Lass Williams. 

. Ro-wing Home in the Morning. 
Edgerton. 
If Evor I Cease to Love. .Leyboume. 
His Heart wras True to Poll. 

Tucker. 
I'm a Timid, IVervous Man. 

Cherry. 
Rhein Wine S barley.. .Leyboume. 

Heathen Chinee Tucker. 

Housekeeper's Woes Pechter. 

Do-wn in a Coal Mine.. .Oeoghegan, 

Dolly Varden Lee. 

Little Coquette Lee. 

Good-bye, Charlie Hunt. 

Bom! Bom! Bom! Hunt. 

Modern Times Coote. 

The Hardware Line Banks. 

Jack's Present. Byron. 

When the Band Begins to Play. 
Hunt. 
ITpon the Grand Parade. . .Daviei. 
%da with the Golden Hair. 

G. W. M. 

Awrf ully Clever Hunt. 

Perhaps She's on the Railway. 
McCarthy. 
Mother Says I Mustn't Hunt. 



MOTTO SONGS. 



34. Way of the '^Vorld KUery. 

36. It's AH the Same to Sam... Hunt. 

46. It's Better to Laugh than to Cry. 
Clifton. 

54. On, Boys, On, the Course is 
Al«vays Clear Petchet. 

60. Act on the Square, Boys Lee. 

VZIH. A Bit of my Mind Bell. 

l'?9. An Old Man's Advice Tinney. 

tWV. Up and be Doing. Smith. 

188. Ten Minvtes Too Late Clifton. 



193. Would You bo Surprised?. .Coote. 
199. O'Donnell Aboo Morine. 

149. Popular Airs for Little Fingers. 

No. 1. Walking in the Park ; Beautiful 
Bells. 

150. Popular Airs for Little Fingers, 

No 2. Captain Jinks ; Tapping at the 
Garden Gate. 
161. Berger Family • 



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Treatnnent Date: April 2009 

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